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Price  $2.00 


Fourth  Edition 


Prepared  and  Published  by 

E.  I.  du  Pont  de  Nemours  &  Co.,  Inc. 

Paint  and  Varnish  Division 

35th  St.  and  Gray’s  Ferry  Road  Philadelphia,  Pa. 

2100  Elston  Ave.  Everett  Station,  No.  40 

Chicago,  Ill.  Boston,  Mass. 

250  Vanderpool  Si. 

Newark,  N.  J. 


A-)442e  * 


Copyright  1923 

E.  I.  DU  PONT  DE  NEMOURS  &  CO.,  Inc. 
Wilmington,  Delaware 


The  Purpose  of  This  Book 


THIS  book  has  been  written  as  a  practical  aid  to  plant  superintend¬ 
ents  or  others  responsible  for  the  maintenance  of  industrial  property 
and  equipment,  and  as  a  help  to  architects  and  engineers  in  the 
protection  of  new  construction.  It  covers  in  simple,  practical  fashion 
modern  painting  practice  for  all  types  of  exterior  and  interior  surfaces. 

It  shows  the  reasons  for  decay  and  deterioration  and  describes  the  proper 
methods  to  follow  in  conquering  these  destructive  forces.  It  indicates  the 
extremely  important  part  that  good  paint  and  varnish  play  in  upkeep 
work,  and  proves  the  wisdom  and  economy  of  using  high-quality  materials 
for  all  painting  purposes. 

A  modern  industrial  plant,  fully  equipped,  represents  a  large  investment. 
Its  value  is  not  permanent,  however,  for  depreciation  begins  immediately 
on  its  completion.  Whatever  eliminates  or  retards  deterioration,  there¬ 
fore,  has  a  distinct  profit  value,  and  helps  to  remove  one  of  the  obstacles  a 
manufacturer  or  producer  meets  in  his  endeavor  to  make  his  enterprise 
profitable. 

The  rapidity  of  deterioration  depends  upon  the  character  of  the  property 
and  the  kind  of  maintenance  it  receives.  Neglect  or  carelessness  causes 
rapid  depreciation,  and,  when  too  late,  extensive  rehabilitation  is  necessary. 
Replacement  is  expensive;  it  costs  many  times  as  much  as  the  comparatively 
small  sum  required  each  year  for  the  purchase  and  application  of  paint  and 
varnish  to  keep  plant  and  equipment  in  good  condition.  Upkeep  painting 
done  at  regular  intervals  is  one  of  the  best  investments  a  plant  owner  can 
make. 

We  recommend  this  book  as  a  guide  in  your  careful  study  of  the  general 
subject  of  plant  and  equipment  maintenance.  In  addition,  you  will  find 
it  useful  as  a  practical  reference  book  whenever  any  specific  problem 
presents  itself. 

If  there  are  unusual  problems  of  upkeep  work  peculiar  to  your  industry 
on  which  you  desire  additional  information,  the  facilities  of  the  du  Pont 
Company  are  at  your  disposal. 

Roy  C.  Sheerer,  Editor 


1 


Digitized  by  the  Internet  Archive 
in  2019  with  funding  from 
Getty  Research  Institute 


https://archive.org/details/principlespractiOOeidu 


Table  of  Contents 


For  reference  to  definite  treatment  of  specific  surfaces 
consult  Index  on  pages  202  and  203. 


CHAPTER  1 

The  Importance  of  Paint  and  Varnish  in  the  Industrial  World 

CHAPTER  2 

Modern  Paint  and  Varnish  Making . 

CHAPTER  3 

Superiority  of  Ready-Mixed  Paint . 

Single-Pigment  vs.  Combination-Pigment  Mixed  Paint 
Colored  vs.  White  Paint 

CHAPTER  4 

What  is  Varnish? . 

Purpose  of  Varnish 

Classes  of  Varnish 

General  Requirements  of  Varnish 

General  Directions  for  the  Use  of  Varnish 

Can  Varnishes  Be  Safely  Mixed,  Reduced  or  Thinned? 

CHAPTER  5 

Let  the  Paint  Manufacturer  Prepare  Your  Specifications  .... 

CHAPTER  6 

Woods  and  Their  Treatment . 


Pagb 

9 

.  11 

13 


19 


23 

25 


CHAPTER  7 

Causes  of  Decay .  29 

Exterior  Wood  Surfaces 
Interior  Wood  Surfaces 

CHAPTER  8 

Value  of  Practical  Tests .  33 

Tests  at  Atlantic  City 
Atlantic  City  Test  Fence 
Results  of  First  Inspection 
Results  of  Second  Annual  Inspection 
Tests  at  Pittsburgh 

CHAPTER  9 

Defects  of  Paints  and  Varnishes .  •  45 

CHAPTER  10 

Proper  Finishes  for  Wood  Surfaces .  55 


3 


Table  of  Contents — Continued 


chapter  li 

Page 


Preparation  of  the  Surface  for  Painting .  57 

New  Wood  Surfaces 
Old  Wood  Surfaces 

CHAPTER  12 

General  Methods  of  Application . .  59 

Methods  of  Stirring 


Priming  Coat — New  Wood  Surface,  or  Surface  Not  Previously  Painted 

Priming  Coat — Previously  Painted  Surfaces 

Application 

Finishing  Coat 

Enamels 

Varnishes 

Brushes 

Don’ts 

CHAPTER  13 


Exterior  Wood  Surfaces  and  Their  Protection .  63 

Factory  and  Mill  Buildings . 63 

Mill  Villages . 64 

Houses,  Garages  and  Out-Buildings . 64 

Roofs,  Shingle  and  Tin . 65-67 

Porch  Floors  and  Steps . 6S 

Frame  Office  Buildings  . 68 

Window  Frames  and  Sash . 68 

Fences,  Gates  and  Bridges . 68 

Passageways  and  Doors . 68 

Tanks  and  Their  Supports .  .69 

Telephone  and  Telegraph  Poles  and  Cross  Arms . 70 

All  Other  Wood  Surfaces . 70 


CHAPTER  14 


Treatment  of  Interior  Wood  Surfaces .  71 

Interior  Floors — Varnish  Finish . 71 

Interior  Floors — Wax  . 71 

Interior  Floors — Stained  and  Varnished  . 72-73 

Interior  Floors — Painted . 74 

Interior  Floors — Hardwood  or  Parquet  . 75 

Interior  Floors — Previously  Finished . 76-77 

Interior  Floors — Linoleum  Covered .  78 

Interior  Floors — Oil  Dressing . 79 

Interior  Walls  and  Ceilings — ■ 

Varnished  or  Stained  and  Varnished . 79-80 

Finished  with  Gloss  Paint . 80 

Finished  with  Flat  Paint . 80 

Finished  with  Enamel . 81 

Finish  for  Dados  . 83 

Office  Partitions . 83 

Doors,  Door  Frames,  Picture  Moulding,  Wainscoting,  etc . 83 

Girders,  Beams  and  Pillars . 84 

Elevators,  Gates  and  Shafts . 84 

Machinery  and  Machine  Equipment  . 84 

Racks  and  Bins . 85 

All  Other  Wood  Surfaces . 85 


4 


Table  of  Contents — Continued 


CHAPTER  15 

Painting  and  Preservation  of  Metal  Surfaces . 

Costliness  of  Corrosion 
Causes  of  Corrosion 
Prevention  of  Corrosion 

Unusual  Conditions  to  Which  Metal  Surfaces  Are  Exposed 

Characteristics  of  the  Products  for  the  Arrest  of  Corrosion 

Chemical  Permanence 

Chemical  Inertness  Toward  Iron 

Resistance  to  Physical  Damage 

Imperviousness  to  Air  and  Moisture 

Elasticity 

Rust-Inhibition 

Average  Ratings  of  Pigments 

Preparation  of  the  Metal  Surface  for  Painting. . . 

New  Surfaces  or  Surfaces  Never  Before  Painted 

Surfaces  Previously  Painted 

Preparing  Galvanized  Iron  for  Painting 

New  Galvanized  Iron 

Galvanized  Iron  Previously  Painted 

Application  of  the  Material . 

Causes  of  Deterioration  of  Paint  on  Metal  Surfaces 


Page 

87 


98 


101 


CHAPTER  16 

Exterior  Metal  Surfaces . 105 

Structural  Steel  Construction . 105-107 

Roofs — Galvanized  Iron,  Tin  or  Gther  Metal  . 107-109 

Gutters,  Spouting  and  Water  Conductors  . 109 

Fences,  Iron  or  Wire . 110 

Fire  Equipment — Plugs,  Hydrants,  Valves,  Hose  Carriages,  Hose  Houses  .  110 

Fire  Escapes  and  Ladders . Ill 

Fire  Doors . 11- 

Handrails  and  Steps . 113 

Steel  Tanks  and  Tank  Supports . 114 

Bridges  and  Passageways . 116 

Supports  for  Pipe  Lines  . 116 

Pipe  Lines — Uncovered . 116 

Pipe  Lines — Covered . 116 

Steam  or  Electric  Cranes . 1  IS 

Smokestacks  and  Chimney  Connections .  118 

Ventilators . 11S 

Factory  Trucks  and  Cars,  Tank  Cars . 119 

Locomotives,  Electric  and  Steam . 120 

Steel  Drums  and  Containers . 121 


CHAPTER  17 

Interior  Metal  Surfaces . 123 

Metal  Walls  and  Ceilings . 123-126 

Steel  Girders,  Beams  and  Their  Supports . 126 

Electric  Conduits  and  Switch  Boxes,  Indicator  Tubing . 127 

Sprinkler  Systems . 128 


5 


) 


Table  of  Contents — Continued 


CHAPTER  17— Continued 

Page 

Piping  System . 129 

Fire  Equipment- — Doors,  Buckets,  Extinguishers,  Valves,  High-Pressure 

Lines,  Sand  Buckets . 129 

Machinery . 129 

Machinery  Guards . 131 

W  aste  Cans . 132 

Tanks — Raw  Material  and  Other  Purposes . 133 

Factory  Hand  or  Motor  Trucks . 134 

Motors,  Pumps,  Steam  Engines,  Steam  Turbine,  etc . 134 

Elevators,  Gates,  Shafts,  etc . 134 

Boiler  Fronts  and  Boiler  Connections . 135 

Weighing  Machinery  and  Scales  . 135 

Cranes  and  Crane  Supports  . 135 

Fume  Control  Systems . 136 

Drying  Stoves,  etc . 136 

Radiators . 168 

CHAPTER  18 

Treatment  of  Concrete  and  Cement  Surfaces . 137 

Necessity  for  the  Protection  of  Concrete  and  Cement 
Preparation  of  the  Surface  for  Painting 


Characteristics  of  the  Proper  Materials  for  the  Protection  of  Concrete  and  Cement 
Surfaces 

Corrosion  of  Steel  Reinforcements  in  Concrete  Construction 
Painting  Steel  Reinforcements  in  Concrete  Construction 


CHAPTER  19 

Exterior  Concrete  and  Cement  Surfaces . 143 

Painting  Steel  Reinforcements  in  Concrete . 142 

Concrete  for  Structural  Purposes . 143 

Exterior  Brick  and  Plaster  Surfaces . 144 

CHAPTER  20 

Interior  Concrete  and  Cement  Surfaces . 145 

Walls,  Ceilings  and  Pillars . 145 

Dado  Finish . 147 

Cement  Floors . 147 


CHAPTER  21 

Light-Reflecting  Finishes  for  Interior  Wails  and  Ceilings . 149 

The  Handicap  of  Poor  Light 

Requirements  of  Good  Illumination 

Advantages  of  Good  Lighting 

Comparative  Light  Values 

Diffusion  and  Reflection 

Qualities  to  Be  Desired  in  an  Interior  Finish 


Concrete  Walls  and  Ceilings . 158 

Plaster  Walls  and  Ceilings . 160 

Brick  Surfaces . 160 

Wood  Surfaces . 161 

Metal  Walls  and  Ceilings . 162 

Acid  Fumes . 162 

Dado  Finishes . 163 


6 


Table  of  Contents — Continued 


CHAPTER  22 

Pac.e 

Plant  Standardization  Systems  . I  tin 

Specimen  Standardization  Chart  . 166 

The  Scientific  Identification  of  Piping  Systems .  167 

Painting  Radiators  for  Efficiency . 171 

Prescription  Paint  Service  . 172 

CHAPTER  23 

Zoning  Systems  in  Industrial  Plants .  . 173 

Regulating  Traffic . '71 

Painting  Fire  Hydrants . 175 

CHAPTER  24 

Mechanical  Paint  Application . 177 

Diversity  of  Use  of  Mechanical  Painting  Machine  .  .  . 1  S3 

Applying  Interior  Flat  Paint . 184 

Applying  Metal  Paints .  184 

Uniform  Composition  of  Paints  Applied  by  Mechanical  Means  .  184 

Painting  Oil  Tanks . 185 

Oil  Tank  Car  Painting .  185 

Estimating  Figures  on  Standard  Lines  of  Ready-Mixed  Paints  for 

Priming  and  Finishing  Coats . 186 

Advantages  of  Mechanical  Painting . 188 

Comparison  of  Quantity  of  Paint  Used  for  Machine  Painting 

and  Brushing . 160 

Sanitation .  191 

Practicability  of  Mechanical  Painting . 192 

Investment .  194 

Makers  of  Mechanical  Painting  Machines .  194 

CHAPTER  23 

Brushes  and  Their  Care  . . 195 

Buying  Brushes 
The  Care  of  Brushes 

CHAPTER  26 

How  to  Operate  a  Paint  Shop . 199 

CHAPTER  27 

Periodical  Paint  Inspection  and  Guide  to  Its  Performance .  201 

Guide  to  theUse  of  du  Pont  Paints  and  Varnishes  for  Industrial  LTpkeep  Purposes 


i 


Chapter  1 


THE  IMPORTANCE  OF  PAINT  AND  VARNISH 
IN  THE  INDUSTRIAL  WORLD 

If  one  were  to  make  a  survey  of  the  industries  of  the  country,  from  the 
standpoint  of  the  use  of  paint  and  varnish  for  upkeep  purposes,  he  would 
find  that  the  importance  of  surface  protection  was  apparently  not  realized 
by  many  plant  managers. 

A  careful  analysis  of  a  typical  plant  would  show  a  wide  variety  of  sur¬ 
faces  either  badly  in  need  of  renewed  protection  or  in  a  state  of  disrepair 
from  lack  of  any  protection.  It  would  bring  to  notice  rust  and  corrosion  of 
metal  surfaces  in  different  stages  of  progress,  woodwork  worn  and  cracked, 
concrete  showing  evidence  of  disintegration.  Rust  and  decay  are  con¬ 
stantly  at  work,  day  and  night,  proceeding  silently  and  unnoticed,  until, 
when  too  late,  not  only  extensive  repairs  but  expensive  replacements  may 
be  necessary.  Paint  and  varnish,  used  at  the  right  time,  is  an  investment 
of  recognized  worth  in  efficient  plant  management. 

Aside  from  the  arrest  of  decay  and  deterioration,  there  are  other  practical 
reasons  for  providing  proper  paint  protection  for  plant  and  equipment. 
Walls  and  ceilings  treated  so  as  to  add  to  the  effectiveness  of  the  natural 
daylight  do  much  to  relieve  eyestrain,  speed  production  and  decrease  the 
number  of  accidents.  Attractive  and  cheerful  surroundings  are  reflected  in 
loyalty  and  contentment  of  employes,  with  increased  production  a  natural 
consequence. 

Paint  and  varnish  makers,  through  their  research  laboratories,  have 
developed  finishes  that  are  thoroughly  practical  and  well  suited  to  meet 
every  requirement.  There  is,  therefore,  no  reason  why  the  plant  manager 
or  superintendent  should  defer  giving  the  necessary  attention  to  plant  or 
equipment  through  any  lack  of  knowledge  on  his  part.  Paint  manufacturers 
are  always  willing  to  investigate  the  paint  problems  of  any  industry,  and 
if  they  do  not  already  make  a  product  that  will  satisfy  the  needs  of  that 
industry,  in  most  instances  one  can  be  developed.  No  matter  what  the 
surface  to  be  finished,  nor  what  conditions  such  surfaces  must  withstand, 
within  reason,  there  is  a  paint  or  varnish  made  specifically  for  the  purpose. 

It  is  the  object  of  this  manual  to  present  in  practical,  usable  form  the 
necessary  information  covering  the  use  of  paints  and  varnishes  for  proper 
maintenance  of  plant  and  equipment. 


9 


GOOD  PAINT  COSTS  NOTHING 


Chapter  2 

MODERN  PAINT  AND  VARNISH  MAKING 

Paint  and  varnish  manufacture  is  a  scientific  industry,  based  upon 
formulae  and  methods  perfected  by  years  of  research  and  experiment.  Hun¬ 
dreds  of  raw  materials,  gathered  from  the  four  corners  of  the  earth,  are 
utilized  in  its  intricate  processes.  Powerful  machinery  grinds  and  mixes 
these  ingredients  and  turns  out  finished  products  that  are  amazing  in 
their  range  of  usefulness  and  service. 

All  raw  materials  are  given  a  thorough  chemical  and  physical  analysis 
before  acceptance.  The  larger  paint  manufacturers  make  their  own  white 
lead,  lithopone,  tinting  colors,  etc.  They  are  thus  in  a  position  to  govern 
every  step  in  the  process  of  manufacture.  At  various  stages  the  product  is 
subjected  to  tests  to  determine  its  adherence  to  established  standards.  The 
finished  products  must  measure  up  to  standards  set  for  uniformity,  color 
and  quality. 

Scientifically  accurate  control  of  every  manufacturing  process  has 
resulted  in  the  high  standard  of  efficiency  of  the  modern  mixed  paint. 

Similar  progress  is  reflected  in  the  science  of  varnish  making.  The  mak¬ 
ing  of  varnishes  has  always  been  in  the  hands  of  the  specialist  varnish 
manufacturer.  It  requires  apparatus  and  knowledge  of  raw  materials  and 
methods  of  manufacture  that  are  foreign  to  the  average  layman.  Not  so 
many  years  ago,  practically  the  only  varnishes  made  were  combinations  of 
linseed  oil,  gum  and  rosin;  today  they  embrace  hundreds  of  raw  materials 
that  were  unknown  two  generations  past.  The  marvelous  development  of 
china  wood  oil,  the  discovery  of  countless  other  oils,  volatiles,  solvents, 
resins,  gums,  etc.,  is  the  result  only  of  the  large  investment  in  research  and 
laboratory  work  made  by  varnish  manufacturers  during  the  past  few  years. 
The  varnish  manufacturer  is  today  one  of  the  most  valuable  contributors 
to  the  world’s  progress  and  the  conservation  of  its  resources. 

Varnishes  are  made  today  to  successfully  meet  the  widespread  needs  of 
the  industrial  world.  There  are  hundreds  of  different  qualities  and  kinds, 
each  manufactured  for  a  specific  purpose.  The  selection  of  the  brand  of  the 
varnishes  you  purchase  is  the  most  important  consideration.  You  can  be 
reasonably  certain  that  the  results  derived  from  their  use  will  be  satisfactory, 
if  you  use  the  best  known  brands  made  by  the  leading  manufacturers. 

Satisfactory  performance  of  the  paint  or  varnish  under  actual  con¬ 
ditions  of  service  is  the  result  only  of  painstaking  care  in  every  step  of  its 
manufacture. 


11 


PAINTING  IS  CHEAPER  THAN  REPLACEMENT 


Chapter  3 

SUPERIORITY  OF  READY-MIXED  PAINT 

Modern  prepared  or  ready-mixed  paint  is  a  development  of  compara- 
ti\ely  recent  years.  In  its  most  generally  used  form,  it  is  the  combination 
of  pigments  and  liquids  that  has  proved  in  actual  service  to  perform  most 
satisfactorily  the  work  required.  It  is  the  result  of  many  years  of  careful 
research  and  countless  tests  conducted  by  paint  manufacturers  and  certain 
disinterested  organizations. 

The  one  outstanding  characteristic  of  modern  mixed  paint  is  its  UNI¬ 
FORMITY.  This  is  due  primarily  to  the  system  of  absolute  control 
exercised  throughout  its  manufacture.  This  uniformity  is  shown  in  its: 

Ingredients 

Consistency 

Color 

Weight 

Quality 

Time  is  the  only  test  of  the  durability  of  a  paint  in  actual  service;  but  the 
modern,  high-quality,  ready-mixed  paint  is  as  far  superior  to  the  old-style, 
rule-of-thumb,  hand-mixed  product  as  the  Mazda  bulb  is  superior  to  the 
candle  light.  Both  are  the  result  of  many  years'  development  in  their 
respective  fields  along  scientific  lines. 

Standardizing  on  a  high-quality  mixed  paint  enables  the  plant  super¬ 
intendent  to  give  better  protection  to  his  property  and  reduce  upkeep 
cost,  due  to  the  longer  life  of  the  paint  coat  and  better  general  satisfaction 
given  by  it  in  every  way. 


Single  Pigment  vs.  Combination  Pigment 

Mixed  Paint 

Tests  conducted  by  paint  manufacturers  and  other  organizations  have 
proved  that  a  surface  finished  with  a  properly-balanced,  combination- 
pigment  paint  will  be  given  better  protection  than  that  afforded  by  a 
single-pigment  paint. 

A  combination-pigment  paint  may  be  composed  of  a  wide  variety  of  raw 
materials,  but  in  its  general  application,  it  is  made  up  of  the  correct  per¬ 
centage  of  White  Lead,  White  Zinc,  and  inert  material  such  as  Asbestine, 
Barytes,  etc.,  together  with  whatever  coloring  matter  may  be  necessary 
to  produce  the  proper  tint. 

The  one-pigment  paint, — White  Lead  and  Linseed  Oil,  mixed  by  hand, — 
has  a  number  of  serious  defects.  It  chalks  rapidly,  much  too  quickly  to 
afford  proper  protection  to  the  surface  beneath.  If  a  dried  film,  composed 
of  White  Lead  and  Linseed  Oil.  were  examined  under  a  microscope,  it 


13 


PANELS  ON  ATLANTIC  CITY  FENCE 

Two  Lower  Sets  of  Panels  are  Painted  with  Combination  Pigment  Paints.  Excellent  Results  Shown 


. 


/ 


. 


' 


■ 


. 


STANDARDIZE  YOUR  PAINT  PURCHASES 


would  show  open  spaces  between  the  White  Lead  crystals,  thus  producing 
an  imperfect  film,  lacking  many  of  the  characteristics  necessary  for 
maximum  protection.  Usually  a  paint  so  composed  affords  a  ready  lodging 
place  for  dust,  dirt,  plant  pollen  and  the  like,  which  not  only  destroy  the 
appearance  of  the  finish,  but  shorten  the  life  of  the  paint  coat. 
Furthermore,  when  repainting  is  necessary,  which  usually  comes  more 
quickly  than  it  should,  costly  preliminary  work  is  frequently  required 
to  properly  prepare  the  surface  for  repainting. 


Panel  on  Left  Painted  with  Single  Pigment  Paint;  Panel  on  Right  Painted 
with  Combination  Pigment  Paint.  Photograph  taken  after 
Two  Years’  Exposure  on  Pittsburgh  Test  Fence 

White  Zinc  or  Oxide  of  Zinc,  when  used  alone,  is  brittle  and  soon  cracks 
and  chips,  due  to  expansion  and  contraction  of  the  surface  under  atmos¬ 
pheric  conditions.  The  combination,  however,  of  the  correct  percentage  of 
White  Lead  and  White  Zinc,  the  two  products  held  together  by  asbestine, 
or  other  inert  material — which  acts  the  same  as  hair  in  plaster — has  been 
proved  to  give  the  best  all-around  service  that  is  possible  to  obtain  from 
any  paint  coating.  The  hardness  of  the  White  Zinc  offsets  the  softness  of 
the  White  Lead,  and  the  defects  of  one  are  thus  balanced  by  the  merits 
of  the  other.  Generally  speaking,  this  is  the  composition  of  most  of  the 
high-grade  prepared  paints  on  the  market,  together  with  whatever  coloring 
material  may  be  required  to  produce  various  shades. 

The  authority  for  these  statements  is  borne  out  by  the  results  of  tests 
conducted  at  various  points  throughout  the  country  by  the  Educational 
Bureau  of  the  Paint  Manufacturers’  Association  of  the  United  States  with 
a  view  to  determining  the  relative  merits  of  various  types  of  one-pigment 
vs.  combination-type  paints. 

Inspection  of  Atlantic  City  Test  Fence  in  March,  1909,  showed  that: 

“A  paint  made  from  any  mixture  of  more  than  one  white  opaque  pigment, 
either  when  used  alone  or  in  combination  with  small  percentages  of  inert 
pigments,  is  far  superior  to  any  one-pigment  paint.  It  was  found  that  the 

straight  white  lead  paints  failed  in  every  case . Paints  made 

with  large  percentages  of  white  lead,  however,  gave  excellent  results.’ 


15 


RUST  AND  DECAY  ARE  THE  ONLY  PERPETUAL  MOTION 


View  of  Atlantic  City  Test  Fence 

First  inspection,  made  in  May,  1909,  of  the  Pittsburgh  Test  Fence  showed 

-  *  , 

“A  mixture  of  more  than  one  prime  white  pigment,  whether  this  mixture 
be  alone  or  in  combination  with  a  small  percentage  of  inert  pigment,  pro¬ 
duces  a  paint  far  superior  to  a  paint  manufactured  from  one  pigment  alone. 

Second  annual  inspection,  May  7,  1910,  showed  that: 

“The  combination  type  of  paint  proved  more  durable  than  the  single¬ 
pigment  paints.  They ‘indicated  in  most  cases  very  excellent  wear,  with  a 
minimum  of  blackness  and  a  general  good  condition  of  surface. 

“The  Committee  finds  that  the  best  white  paint  for  general  exterior  use 
is  made  of  white  lead  combined  with  zinc  oxide  and  a  moderate  percentage 
of  inert  pigments,  such  as  silica,  asbestine,  or  barytes. 

Inspection  of  the  Test  Fence  erected  at  North  Dakota  Agricultural 
College,  Nov.  20,  1909,  showed  that: 

“Mixtures  of  white  lead  and  zinc  oxide,  properly  blended  with  moderate 
percentages  of  reinforcing  pigments,  such  as  asbestine,  barytes,  silica  and 
calcium  carbonate,  are  most  satisfactory  from  every  standpoint,  and  are 
superior  to  mixtures  of  prime  white  pigments  not  reinforced  with  inert 
pigments.”  “Paint  Technology  &  Tests' — H.  A.  Gardner. 


Colored  vs.  White  Paint 

It  has  been  proved  that  a  paint  to  which  has  been  added  certai in  < coloring 
material  to  produce  the  desired  shade  will  wear  from  30  to  60 /0  better 
and  longer  than  a  pure  white  paint.  This  means  that  a  surface  so  finished 
will  require  repainting  much  less  frequently  than  if  white  is  used.  Mlnte 
surfaces  collect  dust  and  dirt  quickly.  Where  the  necessity  for  repainting 
of  white  painted  surfaces  comes  approximately  every  three  years,  the 
repainting  of  surfaces  of  tinted  paints  would  come  about  every  fave  years. 
Light  tints  reflect  more  light  than  the  dark  ones,  and  for  that  reason  a 
building  painted  with  a  light  tint,  such  as  gray,  ivory,  etc.  would  be  much 

16 


DAYLIGHT  IS  THE  CHEAPEST  LIGHT 


The  Upper  Panel  Shows  Checking,  Darkening  and  Poor  Repainting 
Surface  of  Single  Pigment  Paint 

The  Lower  Panel  Shows  Perfect  Condition  of  Surface  Painted  with 
a  High  Grade  Prepared  Paint 


cooler  in  summer  than  one  painted  in  dark  shades  of  tan,  brown,  green, 
red  and  the  like.  Such  dark  tones  absorb  a  great  deal  of  heat. 

Standard  prepared  paints,  put  up  in  sealed  packages  bearing  the  name 
of  a  reputable  manufacturer,  will  usually  give  you  the  most  satisfactory 
results,  provided  the  directions  for  application  are  followed  and  the  material 
is  applied  under  proper  conditions. 


17 


PAINTING  IS  AN  INVESTMENT,  NOT  AN  EXPENSE 


Chapter  4 


WHAT  IS  VARNISH? 

Varnish  is  “a  solution  or  fluid,  usually  transparent  or  translucent,  though 
occasionally  opaque,  which,  when  spread  upon  a  surface  in  a  thin  film,  dries 
by  the  evaporation  of  its  volatile  constituents,  by  the  oxidation  of  other 
constituents,  or  partly  by  evaporation  and  partly  by  oxidation,  to  a  con¬ 
tinuous,,  protective  coating  which  may  be  either  highly  lustrous  or  practi¬ 
cally  devoid  of  luster.  The  transparent  and  translucent  forms  of  varnish  are 
clearly  differentiated,  but  some  of  the  opaque  forms  are  distinguished  from 
paint  only  by  their  composition,  the  varnish  containing  resins  or  gum  resins, 
as  an  essential  constituent.” 

“A  Varnish  Catechism  for  Varnish  Men" — G.  B.  Heckel. 

The  American  Society  for  Testing  Materials  gives  the  following  definition: 

“A  liquid  coating  material,  containing  no  pigment,  which  flows  out  to  a 
smooth  coat  when  applied,  and  dries  to  a  smooth,  glossy,  relatively  hard, 
permanent  solid  when  exposed  in  a  thin  film  to  the  air. 

“Some  materials  possessing  the  other  characteristics  dry  without  the 
usual  gloss  and  are  termed  ‘flat  varnishes’.” 


Purpose  of  Varnish 

Varnish  is  used  mainly  for  the  exclusion  of  moisture  and  gases,  vapors 
and  other  atmospheric  agencies  of  decomposition  or  decay;  as  a  preventive 
of  corrosion  of  metal  surfaces;  and  to  reduce  friction  in  certain  manufactur¬ 
ing  processes. 


Classes  of  Varnish 

Plant  and  equipment  upkeep  requires  or  makes  use  of  the  following 
classes  of  varnish : 

Oil  Varnishes:  These  are  solutions,  effected  by  heat,  of  a  gum  resin  in 
a  fixed  oil  (commonly  a  vegetable  oil)  with  a  small  proportion  of 
metallic  salts  to  facilitate  drying,  and  sufficient  volatile  liquid  to 
obtain  the  required  fluidity. 

Long  Oil  Varnishes  are  those  in  which  vegetable  oil  is  present  in  a 
larger  proportion  than  gums  or  resins.  Such  varnishes  are  slow-drying, 
tough  and  elastic.  Spar  varnishes  are  in  the  “long  oil"  class. 

Short  Oil  Varnishes  are  the  reverse  of  Long  Oil,  and  are  typified  in 
Rubbing  Varnishes. 

Spirit  Varnishes:  These  are  solutions  of  gum  resins  (effected  with  or  with¬ 
out  heat)  in  volatile  liquids.  Shellac  may  be  classed  as  a“Spirit  Varnish. 


19 


GOOD  LIGHTING  DOES 


NOT  DEPEND  SOLELY  UPON  DIRECT  ILLUMINATION 


Japans  and  Dryers:  Solutions  of  metallic  salts  and  a  minimum  of  gum 
resins  in  a  drying  oil,  the  resultant  compound  being  rendered  fluid  by 
volatile  liquids. 

These  should  be  used  but  sparingly,  and  only  as  directed  by  the 
manufacturer.  Excess  use  of  artificial  dryers  is  very  detrimental  to 
the  life  and  service  of  paint  or  varnish. 

Enamels:  Air-drying  or  baking  varnishes,  to  which  color  and  opacity 
have  been  imparted  by  the  addition  of  pigments  (in  some  instances 
also  of  dyes).  They  may  have  high,  medium  or  no  luster. 

Enamels  of  varied  characters  are  used  on  machinery,  trucks,  and 
a  wide  variety  of  exterior  and  interior  surfaces  in  manufacturing 

plants. 

Black  Varnishes  and  Asphaltums:  These  are  combinations  of  vegetable 
oils  or  volatile  liquids  with  bitumens  or  carbons  (effected  by  heat;, 
which  dry  either  naturally  through  oxidation  or  by  baking. 

Such  varnishes  have  a  widespread  use  in  plant  and  equipment 
maintenance.  They  may  be  resistant  to  heat,  acids,  acid  and  gaseous 
fumes,  moisture,  etc.,  as  may  be  required. 

The  greatest  development  of  recent  years  is  shown  in  the  widespread 
use  of  China  Wood  Oil  in  varnish  making.  This  oil  is  given  a  certain  treat¬ 
ment  and  under  the  present  methods  of  manufacture  produces  varnish  of 
great  durability  and  service.  Other  less  known  oils  are  also  used  in  varnish 
making  and  constant  experimentation  is  carried  on  with  a  view  toward 
using  additional  oils  and  ingredients  in  manufacturing  processes. 


General  Requirements  of  Varnish 

Exterior  Varnishes  must  be  durable,  elastic,  resist  abrasion,  moisture, 
the  atmosphere,  the  light  and  the  heat  of  the  sun.  Varnishes  known 
as  “Spar  Varnishes”  are  made  especially  for  outside  exposure. 

Interior  Varnishes  should  have  good  body,  be  moderately  rapid  in  dry¬ 
ing,  fairly  light  in  color,  moderately  hard  when  dry,  resistant  to 
occasional  moisture,  permanent  in  luster,  and  durable.  Since  Interior 
Varnishes  are  not  subject  to  the  severe  conditions  of  outside  exposure, 
they  may,  without  detriment,  be  inferior  to  exterior  varnishes  m  then- 
qualities  of  resistance.  There  are  certain  interior  varnishes  that  dry 
with  a  dull  or  hand-rubbed  effect.  These  varnishes  are  generally  used 
where  a  high-class  finish  is  required  at  a  minimum  cost,— such  as  on 
the  woodwork  of  offices,  etc. 

Floor  Varnishes  should  not  be  classed  with  general  Interior  Varnishes. 
Such  varnishes  should  be  similar  to  Exterior  Varnishes  in  their  power 
of  resistance  to  destructive  agencies.  Do  not  use  any  varnish  on  a 
floor,  except  varnishes  intended  and  labeled  for  floor  use. 


20 


WHAT  IS  THE  LIGHT-REFLECTING  VALUE  OF  YOUR  WALLS  AND  CEILINGS? 


General  Directions  for  the  Use  of  Varnishes 

The  working  qualities,  flowing  properties,  as  well  as  drying  and  hardening 
of  all  varnishes,  are  dependent  upon  atmospheric  conditions.  Varnish  works 
best  in  a  temperature  of  from  70°  to  80°  Fahrenheit.  Good  ventilation  is 
necessary,  but  care  should  be  taken  to  see  that  no  cold  or  warm  drafts  of 
air  strike  any  freshly  varnished  surface.  Always  select  the  particular  kind 
of  varnish  that  is  especially  recommended  for  the  work  in  hand. 

The  work  to  be  varnished  should  be  perfectly  clean,  dry  and  free  from 
dust.  A  second  coat  of  varnish  should  never  be  applied  until  the  first  coat 
is  thoroughly  dry  and  hard.  Second  coats  are  best  applied  over  first 
coats  after  the  latter  have  been  sandpapered,  mossed,  or  rubbed  down  to 
a  dull  finish.  Keep  the  can  tightly  corked  when  not  in  use,  to  prevent 
evaporation.  If  the  varnish  appears  to  be  thick  or  heavy-bodied,  try  it 
out  first  before  cutting  down.  If  reduction  is  necessary,  add  a  very  little 
pure  spirits  of  turpentine.  Too  much  turpentine  will  “kill”  the  gloss.  Do 
not  pour  unused  varnish  back  into  the  original  container.  If  you  do, 
trouble  will  follow. 

Can  Varnishes  Be  Safely  Mixed,  Reduced  or  Thinned? 

“No;  varnish  is  a  product  of  chemical  reactions  at  high  temperatures. 

Mixtures  of  two  varnishes  or  the  addition  of  thinners  ‘in  the  cold’  may 
induce  separations  and  precipitations,  and  will  certainly  affect  the  quality. 

If  the  varnish  selected  for  any  purpose  be  found  not  satisfactory,  the  only 
safe  course  is  to  select  another  varnish.  All  varnishes  are  intended  to  be 
used,  and  should  be  used,  exactly  as  supplied  by  the  manufacturer,  unless 
he  specifically  recommends  additions.” 

“A  Varnish  Catechism  for  Varnish  Men" — G.  B.  Heckel. 

Much  trouble  from  varnish  usage  comes  from  the  application  of  the 
wrong  material,  failure  to  properly  prepare  the  surface  to  be  varnished, 
or  wrong  methods  and  conditions  of  application. 


21 


BETTER  LIGHTING  INCREASES  PRODUCTION  FROM  6  TO  12% 


Chapter  5 

LET  THE  PAINT  MANUFACTURER  PREPARE 
YOUR  SPECIFICATIONS 

The  manufacture  of  paint  and  varnish  is  a  highly  technical  industry. 
The  development  that  the  industry  has  reached  today  is  due  only  to  the 
work  of  hundreds  of  highly-trained  experts,  who  have  spent  lifetimes  in 
study,  research  and  experiment  in  perfecting  the  paints  and  varnishes  of 
today.  Finishes  are  now  made  to  meet  practically  all  requirements  in 
industry— both  for  use  on  manufactured  products  and  for  upkeep  pur¬ 
poses.  These  are  not  placed  on  the  market  until  the  manufacturer  is 
assured  of  their  satisfactory  service  under  the  actual  conditions  for  which 
they  have  been  developed. 

Many  industries  employ  their  own  technical  and  chemical  experts, 
whose  duty  it  is  to  test  the  wide  range  of  raw  materials  used  in  manufactur¬ 
ing  processes  and  to  oversee  generally  such  matters  as  have  a  technical 
bearing  on  the  conduct  of  the  plant  or  business. 

Some  concerns  include  in  this  work  the  preparation  of  specifications  for 
paints  and  varnishes  used  in  either  the  manufacturing  processes  or  in  the 
maintenance  of  plant  and  equipment.  They  do  this  under  the  impression 
that  the  products  purchased,  based  upon  these  specifications,  will  give 
better  service  and  meet  the  peculiar  requirements  of  their  specific  industry 
much  better  than  materials  submitted  by  paint  and  varnish  manufacturers 
themselves. 

In  most  cases  this  is  false  economy.  Technical  experts  employed  by 
individual  companies  are  rarely  in  a  position  to  prepare  such  specifications 
with  any  degree  of  assurance  of  better  results  than  those  given  by  standard 
materials.  When  trouble  occurs,  the  paint  manufacturer  is  frequently 
blamed,  whereas  the  fault  is  due  to  lack  of  complete  knowledge  of  the 
requirements  to  be  met  and  the  materials  necessary  to  use  to  satisfy  them. 

Most  up-to-date  paint  and  varnish  manufacturers  have  well-organized, 
expert,  technical  departments,  whose  sole  duty  it  is  to  delve  into  all  sorts 
of  uses  of  paint  and  varnish,  and  develop  coatings  that  will  stand  up  under 
all  conceivable  conditions  in  industry.  They  have  the  proper  facilities  for 
broad  research  work;  for  carrying  out  extensive  tests  of  all  kinds  of  raw 
materials  and  finished  products;  for  developing  new  products  to  meet  the 
needs  of  specific  industries;  and  for  preparing  specifications  that  will 
produce  satisfactory  results  when  used  under  proper  conditions.  Many  of 
the  men  in  these  departments  have  devoted  their  entire  lives  to  studying 
and  experimenting  with  paint  and  varnish  films;  to  the  needs  of  a  wide 
range  of  surfaces  under  all  conditions  of  use.  Through  their  contact  with 
other  authorities  along  these  lines,  they  are  rarely  at  a  loss  for  the  knowl- 


23 


CHEAP  PAINT  COSTS  TOO  MUCH  TO  USE 


edge  requisite  to  solve  the  peculiar  problems  of  any  industry.  The  informa¬ 
tion  developed  by  the  American  Society  for  Testing  Materials,  the  Institute 
of  Paint  and  Varnish  Research  and  other  organizations  is  at  their  constant 
disposal.  They  are  in  touch  with  all  the  latest  developments  in  protective 
and  decorative  coatings.  In  other  words  the  leading  paint  and  varnish 
manufacturers  are  in  a  position  to  place  at  your  service  their  corps  of 
technically-trained  specialists  who  have  at  their  finger  tips  the  facilities  for 
solving  your  paint  problems.  Why  not,  then,  take  them  into  your  con¬ 
fidence  and  allow  them  to  serve  you  in  the  efficient  manner  they  desire? 

Put  yourself  into  their  hands  and  allow  them  to  make  a  thorough  analysis 
of  your  needs.  You  will  be  repaid  by  obtaining  a  paint  or  varnish  product 
that  will  do  the  work  you  wish  to  have  done  in  the  most  satisfactory 
manner  and  at  least  expense. 


24 


TIME  IS  THE  ONLY  TEST  OF  THE  QUALITY  OF  PAINT  AND  VARNISH 


Chapter  6 


WOODS  AND  THEIR  TREATMENT 


Today  is  often  referred  to  as  the  “Concrete  and  Steel  Age.”  It  is  true 
that  these  two  products  predominate  in  the  construction  of  new 
industrial  plants;  but  there  are  thousands  of  factory  and  mill  buildings 
already  erected  in  which  wood  is  a  very  important  factor.  In  practically 
all  plants  wood  is  used  to  a  greater  or  less  degree,  so  that  a  chapter  devoted 
to  its  protection  and  care  is  quite  essential.  The  treatment  of  this  subject 
will  be  devoted  to  those  woods  most  generally  used  in  industry.  These  are 
as  follows: 


White  Pine 

Hard  Pine 

Poplar 

Oak 

Maple 

Hemlock 

Cypress 

Chestnut 


Redwood 
Douglas  Fir 
Ash 
Elm 

White  Cedar 
California  and 
Oregon  Cedar 
Red  Cedar 


In  the  proper  treatment  of  these  woods,  their  peculiar  characteristics 
should  be  known,  so  that  the  paint  or  varnish  coating  to  be  applied  be  of 
the  correct  composition  to  meet  the  needs  of  each  surface.  A  brief  summary 
of  these  features  follows : 


White  Pine:  Only  a  few  years  past  white  pine  was  one  of  the  most  widely 
used  woods  in  building  construction.  The  rapidly  diminishing  supply, 
however,  has  narrowed  its  use  down  to  the  point  where  it  can  no  longer 
be  employed  for  much  exterior  construction,  but  is  confined  princi¬ 
pally  to  trim,  sash,  doors  and  the  like.  There  is,  however,  much  white 
pine  in  structures  already  erected,  so  that  it  is  in  line  to  consider  this 
wood  from  the  standpoint  of  paint  protection  and  preservation. 

White  pine  is  a  soft,  close-grained  wood,  which  seasons  easily  with 
but  little  shrinkage.  It  absorbs  paint  readily  and  affords  a  good  sur¬ 
face  for  its  adherence.  Paint  easily  covers  and  hides  its  uniform  grain 
and  it  usually  has  but  few  sappy  streaks.  A  paint  to  be  applied  over 
white  pine,  either  new  or  old  surface,  should  be  rich  in  linseed  oil, 
particularly  in  the  priming  coat.  In  this  way  the  finishing  coat  will 
then  present  a  smooth,  even  film,  if  properly  applied. 

Hard  Pine:  Also  called  Yellow  Pine,  Long  Leaf  Pine,  Short  Leaf  Pine, 
Georgia  Pine,  Southern  Pine,  Norway  Pine  and  Pitch  Pine,  depending 
on  the  locality  from  which  it  comes. 

All  these  varieties  have  much  the  same  characteristics:  hard,  heavy 
in  weight,  tough  and  strong.  While  it  is  coarse-grained,  the  space 
between  the  wood  fibers  is  filled  with  resin  or  pitch,  making  it  compact. 


25 


GOOD  PAINT  AND  VARNISH  HOLDS  DOWN  UPKEEP  COST 


The  sapwood,  which  is  the  section  taken  from  the  outside  cuts  of  the 
log,  is  quite  soft  and  open-grained  and  absorbs  paint  readily.  The 
heart  of  the  log,  however,  is  very  hard  and  absorbs  but  little  or  no 
paint.  This  makes  it  very  difficult  to  paint  successfully,  and  any  paint 
that  is  used  on  such  a  surface,  particularly  for  priming,  should  be 
extremely  rich  in  turpentine,  or  benzol,  in  order  to  secure  as  much 
penetration  as  possible.  It  is  also  advised  that  the  paint  be  well 
brushed  out,  being  careful  not  to  apply  it  too  thickly.  It  is  well  also 
to  allow  more  time  than  usual  between  coats  for  thorough  drying, — 
as  it  takes  paint  longer  to  dry  properly  on  such  a  surface. 

If  the  work  is  of  new  construction,  it  is  advisable  to  allow  it  to  remain 
unpainted  for  a  few  weeks,  during  which  time  the  action  of  the  weather 
will  “roughen  up”  the  surface  and  give  a  better  “tooth”  for  the  paint 
when  applied.  Three  thin  coats  are  recommended  for  this  wood.  Two 
thick  coats,  rich  in  oil,  will  inevitably  crack  and  peel  from  such  a  sur¬ 
face,  no  matter  how  good  the  paint  may  be. 

Poplar:  This  is  a  soft,  clear,  straight-grained  wood,  moderately  strong  and 
light  in  weight.  It  is  an  easy  wood  to  paint  and  absorbs  paint  well. 
Its  light,  even  color  makes  “hiding”  easy.  A  priming  paint  for  new 
poplar  should  be  of  the  same  characteristics  as  that  recommended  for 
white  pine. 

Oak:  There  is  but  little  oak  used  today  for  exterior  construction,  although 
in  the  past  it  was  used  to  a  considerable  extent  in  some  localities. 

It  is  open-grained,  hard,  heavy,  strong,  tough  and  durable.  Oak 
usually  is  stained  and  varnished,  very  seldom  painted.  Owing  to 
its  attractive  grain,  it  lends  itself  to  this  fine  treatment.  It  can  be 
painted,  however,  if  desired,  and  such  a  paint  should  be  thin,  using 
plenty  of  turpentine  and  allowing  ample  time  between  coats  for  drying. 
The  paint  should  be  well  brushed  into  the  wood.  Three  coats  on  a  new 
surface  are  generally  necessary  for  perfect  hiding.  Where  it  is  desired 
to  stain  and  varnish  oak,  the  pores  of  the  wood  must  be  filled,  prefer¬ 
ably  after  the  coat  of  stain  is  applied,  with  a  paste  filler,  thinned  down 
with  turpentine  for  application.  After  the  filler  is  applied  and  the  sur¬ 
face  allowed  to  dry,  it  can  be  subsequently  varnished,  if  desired. 

Maple :  This  is  a  hard,  tough,  strong,  close-grained  wood,  light  in  color  and 
heavy  in  weight.  The  close,  even  grain  and  the  light  color  make 
maple  very  easy  to  hide  with  paint.  It  is  a  good  absorber  and  priming 
coats  should  usually  contain  plenty  of  turpentine,  allowing  ample  time 
between  coats  for  drying. 

The  character  of  maple  makes  it  unusually  fine  for  flooring,  for 
which  purpose  it  is  given  various  treatments,  to  be  covered  later. 
Maple  is  very  seldom  used  for  exterior  building  construction,  as  it  is 
too  hard  for  efficient  handling. 


26 


LET  THE  PAINT  MANUFACTURER  SOLVE  YOUR  PAINT  PROBLEMS 


Hemlock:  A  rough,  coarse-grained  wood,  used  mainly  for  exterior  con¬ 
struction  of  the  cheapest  kind.  It  is  not  a  satisfactory  wood  to  handle 
from  any  standpoint.  In  painting,  the  roughness  of  the  grain  makes 
it  hard  to  cover  properly.  Priming  coats  on  new  work  should  be 
unusually  rich  in  turpentine  and  plenty  of  time  should  be  allowed 
between  coats  for  thorough  drying.  Paint  coatings  dry  very  slowly  on 
hemlock. 

Cypress:  A  close-grained,  soft  wood,  moderately  strong.  Grows  in 
swamps  and  usually  is  very  heavy  with  moisture  and  oily  sap.  When 
properly  seasoned,  it  becomes  very  light  in  weight.  It  is  extremely 
resistant  to  decay,  even  under  severe  conditions.  It  does  not  contain 
resin  or  pitch,  but  holds  an  excess  amount  of  oily  sap,  which,  when  the 
wood  is  planed,  feels  somewhat  like  wax.  This  substance  should  be 
carefully  wiped  off  with  benzine  when  ready  for  staining. 

Cypress  is  used  a  great  deal  for  both  exterior  and  interior  work, 
frequently  for  making  tanks  and  where  extremes  of  moisture  con¬ 
ditions  would  render  most  ordinary  woods  unfit  for  service  within  a 
short  time. 

Cypress  lends  itself  readily  to  staining,  the  penetrating  stains 
particularly  giving  smooth,  even  effects.  For  painting,  from  a  pint 
to  a  quart  of  benzol  should  be  added  to  the  priming  coat.  The  addi¬ 
tion  of  benzol,  one  of  the  greatest  penetrating  liquids  known,  is  neces¬ 
sary  in  order  to  carry  the  pigment  and  oil  well  into  the  wood.  After 
doing  this  the  benzol  evaporates  entirely.  Paint  dries  slowly  on 
cypress,  thus  plenty  of  time  must  be  allowed  between  coats;  three 
weeks  are  frequently  necessary  for  perfect  drying.  For  best  results 
three  thin  coats  are  required;  thick,  heavy  coats,  rich  in  oil,  will  fre¬ 
quently  scale  and  peel. 

Chestnut:  A  light,  coarse-grained  wood,  similar  to  oak  in  that  respect. 
Should  be  treated  practically  the  same  as  oak.  It  is  very  durable,  but 
used  but  seldom  for  exterior  work  and  very  little  for  interior  work  at 
the  present  time.  It  is  a  rather  difficult  wood  to  paint  successfully. 
When  the  first  coat  has  been  applied,  it  will  seem  to  have  satisfied  the 
pores  of  the  wood,  but  on  drying  out  it  will  show  the  need  of  further 
attention,  as  the  pores  will  appear  very  open,  and  it  is  evident  that 
penetration  has  not  been  complete.  The  first  coat  should  contain  a 
liberal  amount  of  turpentine  and  should  be  well  brushed  into  the  wood. 
The  paint  will  dry  slowly,  so  that  plenty  of  time  will  be  needed  for 
thorough  drying.  Usually  three  coats  are  required  for  a  perfect  finish. 
It  requires  filling  with  paste  filler,  the  same  as  recommended  for  oak. 

Redwood:  A  light-weight,  soft,  brittle,  coarse  but  close-grained  wood. 
The  wood  is  dark  red  in  color,  the  grain  is  uniform  and  it  absorbs 
paint  readily. 


27 


A  PAINT  FILM  IS  ONLY  1/500TH  OF  AN  INCH  IN  THICKNESS 


Redwood  is  used  extensively  for  both  exterior  and  interior  use. 
Paint  should  contain  plenty  of  linseed  oil  and  some  turpentine  to  aid 
penetration.  Its  color  makes  three  coats  advisable  for  perfect  hiding. 
Where  stain  is  to  be  applied,  it  requires  no  filler.  Redwood  is  fre¬ 
quently  used  for  the  construction  of  water  tanks,  owing  to  its  long  life 
and  durability,  and  greater  resistance  to  moisture.  The  surface,  how¬ 
ever,  should  be  painted  for  long  service. 

Douglas  Fir:  This  is  also  known  as  Oregon  Pine.  It  is  a  wood  of  much 
beauty  of  grain  and  fiber;  is  light  in  weight,  strong,  with  a  close  and 
compact  grain.  It  absorbs  paint  well,  but  the  paint  dries  rather  slowly. 
Since  it  is  light  in  color,  it  is  readily  covered  with  paint.  Paint  should 
be  rich  in  linseed  oil,  with  sufficient  turpentine  in  the  first  coat  to 
aid  penetration.  Where  the  surface  is  to  be  stained,  no  filler  is  required. 

Ash:  A  heavy,  elastic,  strong,  very  hard,  open-grained  wood,  closely 
resembling  oak  in  appearance.  Should  be  treated  similarly  to  oak. 

Elm:  A  very  tough,  strong,  durable  wood;  used  largely  for  timbers  and 
beams.  Has  an  open,  coarse  grain  and  should  be  treated  similarly 
to  oak. 

White  Cedar:  Light  in  weight,  soft,  brittle  and  close-grained.  A  rather 
durable  wood  and  is  used  in  some  localities  for  exterior  construction. 
Cedar  is  a  good  absorber,  and  the  priming  coat  should  contain  plenty 
of  raw  linseed  oil.  Three  coats  are  advised  for  best  results,  each  con¬ 
taining  plenty  of  linseed  oil. 

California  and  Oregon  Cedar:  Light  in  weight,  soft,  strong  and  durable. 
It  has  about  the  same  general  characteristics  as  white  cedar  and  should 
be  treated  the  same  way. 

Red  Cedar:  Light  in  weight,  soft,  but  not  strong.  Has  a  close,  even  grain. 
Unless  thoroughly  seasoned,  the  oil  of  cedar  it  contains  will  act  as  a 
solvent  on  paint  coats  and  destroy  them.  It  is  a  poor  absorber  and 
plenty  of  time  must  be  allowed  for  the  paint  to  dry.  The  priming 
coat  should  contain  plenty  of  oil  and  sufficient  turpentine  to  aid 
penetration  and  should  be  brushed  well  into  the  wood.  Three  coats 
are  advised  for  proper  hiding. 

Red  cedar  is  used  for  some  exterior  construction,  but  its  use  is  largely 
confined  to  shingles.  It  absorbs  the  average  shingle  stain  readily  and 
evenly,  the  creosote  usually  present  in  stain  acting  as  an  excellent 
preservative. 

(The  foregoing  information  is  compiled  from  “Elementary  Studies  in 
House-Painting,  Decorating  and  Paper-Hanging,’’  published  by  the  Inter¬ 
national  Association  of  Master  House-Painters  and  Decorators  of  the 
United  States  and  Canada.) 


28 


PROPER  PREPARATION  OF  THE  SURFACE  IS  ESSENTIAL  FOR  GOOD  RESULTS 


Chapter  7 


CAUSES  OF  DECAY 

The  importance  of  the  preservation  of  exterior  and  interior  wood  sur¬ 
faces  cannot  be  too  emphatically  emphasized.  So  much  timber  has  been 
used  in  the  past  for  building  construction  that,  unless  steps  are  taken  to 
conserve  the  supply,  it  will  only  be  a  comparatively  short  time  before  the 
available  sources  of  wood  for  construction  purposes  will  be  seriously 
depleted.  Much  unnecessary  repair  and  replacement  is  done  today,  due 
to  lack  of  foresight  in  keeping  wood  structures  in  good  condition.  If  one 
were  to  make  a  survey  of  American  industries  with  the  purpose  of  checking 
up  deterioration  of  wood  surfaces  due  to  lack  of  proper  paint  protection, 
he  would  find  that  only  about  25  per  cent  of  such  surfaces  were  properly 
cared  for. 


THE  NECESSITY  OF  PAINTING  WOODEN  STRUCTURES 
Panel  at  Left — Unpainted  After  Three  Years’  Exposure,  Showing  Defects  of  Surface 
Other  Two  Panels  in  Perfect  State  of  Preservation 


The  educational  work  conducted  by  individual  paint  and  varnish  manu¬ 
facturers,  as  well  as  that  carried  on  by  the  “Save  the  Surface”  Campaign, 
is  doing  much  to  show  plant  managers  the  danger  in  permitting  wood 
structures  to  remain  unpainted. 


“Paint  acts  as  a  wood  preservative  because  it  closes  the  openings  in  the 
wood  and  prevents  the  entrance  of  decay-producing  organisms.  A  thor¬ 
oughly  seasoned  piece  of  wood  will  last  indefinitely,  if  kept  well  painted.’’ 

— H.  A.  Gardner 


29 


ALLOW  AMPLE  TIME  FOR  THOROUGH  DRYING  BETWEEN  COATS 


Exterior  Wood  Surfaces 

The  chief  cause  of  decay  in  exterior  wood  surfaces  is  the  action  of  the 
elements  in  the  shape  of  moisture,  sun,  wind,  etc.  Unpainted  wood  per¬ 
mits  ready  entrance  to  moisture  and  dampness,  and  when  such  surfaces 
are  exposed  to  the  sun’s  rays,  they  naturally  have  a  tendency  to  draw  out 
the  moisture,  causing  serious  cracking  and  general  weakening  of  the  wood 
structure.  During  excessively  wet  weather,  unprotected  wood  surfaces 
absorb  so  much  moisture  that  rot  is  the  natural  consequence. 


Detail  View  of  Unprotected  Wood  Panel 


Another  cause  of  deterioration  is  the  presence  of  smoke  and  soot  from 
industries  and  from  railroads.  Unpainted  wood  affords  a  ready  lodgment 
for  the  impurities  and  dust  particles  in  smoke,  not  only  discoloring  the  sur¬ 
face  but  penetrating  the  fiber  of  the  wood,  and  aiding  in  its  general  decay. 
Dirt  and  dust  blown  by  the  wind  operate  in  precisely  the  same  manner. 

In  certain  industries  there  are  also  unusual  gas  and  fume  conditions 
which  seriously  affect  all  unpainted  surfaces,  causing  warping,  cracking  and 
general  deterioration. 


30 


■ 


/ 


/ 


' 


. 


. 


don't  do  exterior  painting  in  wet  weather 


Abrasion  and  wear  on  steps  and  passage  ways  and  other  surfaces  subject 
to  the  tread  of  feet  or  contact  with  other  articles  or  surfaces  tend  to  wear 
away  the  fiber  of  the  wood  and  permit  the  entrance  of  moisture  with  its 
train  of  destructive  results. 

Interior  Wood  Surfaces 

While  not  coming  in  direct  contact  with  the  elements,  many  interior 
wood  surfaces  are,  however,  subject  to  the  action  of  moisture  due  to  con¬ 
densation  from  differences  in  temperature,  or  the  presence  of  steam  and 
other  moisture-creating  conditions.  Practically  the  same  effect  is  produced 
on  interiors  as  that  referred  to  on  exteriors  where  such  conditions  exist. 
Temperature  changes  frequently  cause  serious  cracking  in  wood  pillars  and 
girders  acting  as  supports  to  floors,  with  a  resultant  general  weakening  of 
the  structure.  There  are  other  causes  for  the  gradual  deterioration  of 
unprotected  interior  wood  surfaces  which  are  peculiar  to  certain  industries. 
There  is  only  one  known  method  of  combating  the  natural  effect  of  all 
these  forces  and  that  is  to  keep  all  wood  surfaces  properly  protected  with 
frequent  applications  of  good  paint  and  varnish. 

As  long  as  the  wood  surface  has  an  unbroken  protecting  film  between  it 
and  the  agents  of  destruction,  there  is  no  possibility  of  decay  or  deteriora¬ 
tion  taking  place.  When  it  is  remembered  that  the  average  film  is  about 
l/500th  of  an  inch  in  thickness,  one  can  readily  see  the  necessity  for  the 
correct  material  being  used,  so  that  the  film  may  have  the  opportunity 
to  fully  serve  the  purpose  for  which  it  is  prepared. 


31 


BE  SURE  THE  SURFACE  IS  DRY  BEFORE  APPLYING  THE  PAINT 


Chapter  8 

VALUE  OF  PRACTICAL  TESTS 

Prior  to  1906  comparatively  little  had  been  done  by  the  Paint  Industry 
in  making  practical  tests  of  various  products  under  actual  conditions  of 
service.  At  that  time  the  officials  of  the  North  Dakota  Agricultural 
Experiment  Station  made  an  examination  of  certain  mixed  paints  that 
were  being  sold  throughout  the  Northwest,  with  a  view  to  determining  their 
worth  from  a  quality  and  protection  standpoint. 

Some  of  the  products  that  were  tested  at  that  time  proved  to  be  made 
of  inferior  materials;  many  of  them  were  loaded  with  substitutes  of  various 
kinds  for  the  proper  percentage  of  White  Lead,  White  Zinc,  etc.  The 
result  of  this  examination  was  the  creation  of  the  law  requiring  analysis 
labels  to  be  placed  on  all  packages  of  paint  sold  in  that  State. 

The  investigation  showed  that  mixed  paints  were  benefited  in  their 
wearing  qualities  and  durability  by  the  addition  of  small  percentages  of 
what  are  termed  “inert”  pigments,  such  as  barytes,  silica,  china  clay, 
asbestine,  etc.  Laboratory  experiments  also  showed  that  the  addition 
of  these  inerts  should  be  made  with  discretion,  and  with  the  proper  under¬ 
standing  of  their  limitations,  if  the  best  results  wrould  be  obtained.  The 
exact  percentage  of  inerts  to  use  was  a  matter  of  doubt  even  to  the  most 
experienced.  In  order  to  determine  the  proper  percentages  to  add,  depend¬ 
ent  upon  giving  the  best  service,  practical  tests  were  carried  on  under  the 
supervision  of  Dr.  E.  F.  Ladd,  Director  of  the  North  Dakota  Experiment 
Station. 

It  was  evident  that,  to  carry  out  these  tests  in  a  practical  manner  and 
fair  to  all  concerned,  they  should  be  under  the  supervision  of  scientific 
and  technical  societies.  It  was  also  desired  to  secure  practical  evidence  of 
the  wearing  qualities  and  durability  of  various  paints  under  differing 
climatic  conditions,  and  a  series  of  similar  tests  were  started  at  Atlantic 
City,  N.  J.,  and  Pittsburgh,  Pa.  Both  of  these  tests  were  subject  to  severe 
conditions — the  one  to  the  action  of  salt  atmosphere  and  the  other  to  the 
soot  and  smoky  conditions  from  the  many  industries  at  that  point. 

At  these  two  locations,  framework  fences  were  constructed,  upon  which 
were  placed  a  series  of  painted  panels.  The  bottoms  and  tops  of  the  fences 
were  protected  writh  heavy  boards,  2  inches  thick,  so  that  the  moisture  and 
rain  might  be  prevented  from  working  itself  into  the  wood.  The  entire 
fence  was  sheathed  wTith  12-inch  planed  white  pine,  thus  forming  a  solid 
background  for  the  test  panels. 

The  lumber  for  the  test  panel  was  very  carefully  selected — white  pine, 
yellow  pine  and  cypress. 


33 


Panels  on  Atlantic  City  Fence 


CONCRETE  AND  CEMENT  SURFACES  NEED  PROTECTION  THE  SAME  AS  WOOD  AND  METAL 


Tests  at  Atlantic  City 

The  panels  were  finished  with  the  various  paints  in  a  building,  so  that 
each  formula  might  be  subjected  to  fair  and  equal  conditions  of  applica¬ 
tion,  thus  excluding  the  blowing  of  dust  or  rain  upon  the  painted  surfaces, 
which  would  have  taken  place  had  the  panels  been  painted  on  the  fence. 
The  painting  was  done  in  January,  1908,  with  the  temperature  averaging 
50°  F.  throughout  the  work. 

Each  formula  was  tested  in  three  colors  in  duplicate  on  each  grade  of 
wood.  A  wide  variety  of  formulae  were  put  through  the  test,  so  that  com¬ 
plete  evidence  of  the  worth  of  each  for  practical  application  to  wood  surfaces 
might  be  obtained.  Without  going  into  the  details  of  application,  drying, 
etc.,  the  results  obtained  from  these  tests  one  year  later  proved  conclusively 
that: 

Paints  made  from  any  mixture  of  more  than  one  white  opaque  pigment , 
either  when  used  alone  or  in  combination  with  small  percentages  of  inert 
pigments,  are  far  superior  to  any  single-pigment  paint.  It  urns  found  that 
the  straight  white  lead  paints  failed  in  every  case,  and  this  failure  was  so 
marked  that  it  is  evident  that  white  lead  is  totally  unfit  for  use  along  the  Atlantic 
Coast,  at  least,  without  the  addition  of  other  pigments  to  reinforce  it. 

Paints  containing  excess  of  gypsum,  whiting,  etc.,  were  failures  from  the 
standpoint  of  durability  and  protective  qualities.  The  addition  of  inerts  in 
small  amount — magnesium  silicate,  aluminum  silicate,  silica,  blanc  fixe  and 
barytes — is  recommended  as  adding  considerably  to  the  wearing  qualities  of 
paints. 

Paints  tinted  either  gray  or  yellow  show  far  superior  wear  and  less  chalking 
and  checking  than  plain  white  paints. 


35 


Panels  on  Atlantic  City  Test  Fence 

Lower  sets  of  Panels  are  painted  with  Lithopone  Paints.  Rapid  Failure  Shown 


GOOD  PAINT  COSTS  NOTHING 


Atlantic  City  Test  Fence 


Formula 

No. 

Carb. 

Lead 

% 

Zinc 

Oxide 

% 

Sub. 

White 

Lead 

% 

Zinc 

Lead 

White 

% 

Calc. 

Carb. 

% 

Calc. 

Sulp. 

% 

Mag. 

Sil. 

% 

Bar. 

Sul. 

% 

Sil. 

% 

Blanc 

Fixe 

% 

1 

30 

70 

2 

50 

50 

3 

20 

50 

20 

10 

4 

48.5 

48.5 

3 

5 

22 

50 

2 

26 

6 

64 

36 

7 

37 

63 

8 

38 

48 

14 

9 

73 

2 

25 

10 

44 

46 

5 

5 

11 

50 

50 

12 

60 

34 

6% 

inert 

pigme 

nts 

13 

27 

60 

3 

10 

14 

25 

25 

20 

5 

25 

15 

20 

40 

30 

10 

16 

33 

33 

34 

17 

40 

40 

3 

13 

4 

18 

75 

25 

19 

25 

75 

20 

67 

19.5 

10 

3.5 

33 

15 

30 

25 

30 

34 

38.95 

33.58 

4.81 

19.4S 

3.18 

35 

37.51 

25.87 

7.84 

20.36 

8.42 

36 

100 

37 

100 

38 

100 

39 

100 

40 

100 

45 

100 

46 

61 

39 

47 

100 

Explanation  of  Terms 

Carb.  Lead — Carbonate  of  Lead 
Sub.  White  Lead — Sublimed  White 
Lead 

Calc.  Carb. — Calcium  Carbonate 


Calc.  Sulp.- — Calcium  Sulphate 
Mag.  Sil. — Magnesium  Silicate 
Bar.  Sul. — Barium  Sulphate 
Sil. — Silica 


37 


PAINTING  IS  CHEAPER  THAN  REPLACEMENT 


Results  of  First  Inspection 


Form¬ 
ula  No. 

Condition 

Hiding 

Power 

Color 

Checking 

Chalking 

Gloss 

1 

Good 

Good 

Excellent 

Very  slight 

High 

2 

44 

4  4 

Good 

Hard  Matt 

Moderate 

Med.  High 

3 

44 

Fair 

44 

Medium 

Slight 

4 

44 

Good 

4  4 

Very  slight 

Med.  High 

5 

4  4 

Weak 

44 

Slight 

High 

6 

Fairly  good 

4  4 

4  4 

Matt 

Good 

7 

Good 

Good 

Off 

Slight 

High 

8 

44 

44 

Good 

4  4 

9 

Fair 

Poor 

44 

Heavy  Matt 

Medium 

4  4 

10 

Good 

Fair 

44 

Some 

Med.  High 

11 

<4 

Good 

Excellent 

Med.  Matt 

4  4 

44 

12 

<4 

Medium 

Good 

Heavy  Matt 

Bad 

Medium 

13 

44 

Good 

44 

Medium 

Fair 

14 

Bad 

Medium 

44 

Evident 

Some 

Medium 

15 

Good 

44 

“ 

Coarse  Matt 

Slight 

High 

16 

Fair 

Fair 

44 

Bad 

4  4 

Good 

17 

Good 

44 

Some 

Fair 

18 

44 

Good 

Excellent 

Hard  Matt 

Moderate 

Medium 

19 

4  4 

<4 

44 

4  4 

Slight 

Very  little 

20 

33 

44 

44 

Fair 

Good 

Very  little 

Medium 

Good 

34 

Medium 

44 

Evident 

Slight 

Egg  Shell 

35 

44 

Good 

4  4 

Matt 

4  4 

36 

Bad 

44 

4  4 

Very  appar’t 

4  4 

Bad 

44 

37 

44 

4  4 

44 

44 

44 

38 

44 

4  4 

“ 

Bad 

44 

44 

39 

Good 

Fair 

4  4 

Some 

Good 

40 

44 

Good 

4  4 

Considerable 

Egg  Shell 

45 

Fair 

Fair 

44 

Very  Evident 

High 

46 

47 

44 

Good 

44 

44 

Some 

Apparent 

Good 

44 

38 


STANDARDIZE  YOUR  PAINT  PURCHASES 


Results  of  Second  Annual  Inspection 


Formula 

No. 

Chalking 

Checking 

General  Condition 

1 

Very  slight 

Very  slight 

Good 

2 

Medium 

Slight 

Very  good 

3 

4  4 

4  4 

Good 

4 

Very  slight 

4  4 

44 

5 

Slight 

(4 

4  4 

6 

Very  slight 

t  4 

4  4 

7 

Medium 

44 

44 

8 

Slight 

Very  slight 

44 

9 

Very  bad 

Deep,  with  scaling 

Poor 

10 

Heavy 

Deep 

Medium 

11 

Medium 

Medium 

Fair 

12 

“ 

Deep 

44 

13 

44 

Slight 

Very  good 

14 

it 

Lateral 

Fair 

15 

Slight 

Visible  with  naked  eye 

Poor 

16 

it 

Slight 

Good 

17 

Medium 

4  4 

44 

18 

it 

4  4 

Very  good 

19 

Considerable 

Deep 

Good 

20 

Medium 

Slight 

Good 

33 

44 

4  4 

Very  good 

34 

Slight 

4  4 

Slight  lateral 

Good 

35 

Lateral 

44 

36 

Considerable 

Heavy 

Fair 

37 

a 

Heavy  and  deep 

Poor 

38 

More  than  No.  37 

Very  deep 

44 

39 

Considerable 

Very  slight 

Good 

40 

Heavy 

Slight 

44 

45 

Slight 
(  ( 

4  4 

44 

46 

Medium 

Fair 

47 

None 

Very  deep 

Poor 

39 


Checking. — Type  of  Decay  Exhibited  by  Improperly  Made  Paint 
(magnified  view) 


40 


Panels  on  Pittsburgh  Test  Fence 


RUST  AND  DECAY  ARE  THE  ONLY  PERPETUAL  MOTION 


Tests  at  Pittsburgh 

The  first  inspection  of  the  Pittsburgh  Fence  was  made  about  one  year 
after  the  panels  were  placed  in  position.  The  heavy  deposits  of  soot  on  the 
panels  made  it  inadvisable  to  make  a  detailed  report  of  the  inspection 
until  the  second  year  of  the  exposure. 

The  results  of  the  inspection  corroborate  the  statement  made  relative 
to  the  need  for  the  presence  of  reinforcing  pigments,  as  stated  in  connection 
with  the  Atlantic  City  Fence.  It  further  proved  that: 

Paint  composed  of  white  lead  alone  and  linseed  oil  showed  very  bad  check¬ 
ing  and  became  much  discolored.  The  black  and  gray  formation  on  Carbonate 
White  Lead  panels  was  probably  due  to  the  action  of  sulphur  gases  on  the 
surface,  forming  black  sulphide  of  lead.  With  the  formation  of  this  sulphide 
of  lead,  while  it  protects  the  paint  coating  underneath  to  some  extent,  the 
disintegration  has  proceeded  to  such  an  extent  that  the  paint  coating  left  is 
of  practically  no  value  from  a  protection  standpoint. 

Paint  composed  of  a  combination  of  white  lead  and  certain  inerts  showed 
but  moderate  chalking,  with  an  excellent  repainting  surface  and  a  better  thick¬ 
ness  arid  condition  of  the  paint  coating. 

The  second  annual  inspection  of  the  Pittsburgh  Test  Fences  showed  that: 

The  combination-type  paint, — made  with  two  or  more  pigments, —  showed 
a  better  and  more  durable  surface  than  the  one-pigment  type.  F or  use  in  a 
section  of  the  country  subject  to  similar  atmospheric  conditions  to  those  of 
Pittsburgh,  it  is  shown  that  the  best  outside  paint  is  one  composed  of  white 
lead  combined  with  white  zinc  and  a  moderate  percentage  of  inert  pigments, 
such  as  silica,  asbestine  or  barytes. 

Subsequent  examinations  of  these  test  fences  have  proved  conclusively 
that  the  use  of  certain  inert  pigments  in  moderate  percentages,  combined 
with  any  of  the  standard  opaque  white  pigments,  such  as  white  zinc  oxide, 
undoubtedly  results  in  better  protected  surfaces  from  every  standpoint 
and  forms  the  most  satisfactory  white  paint  for  general  outside  use. 

The  unprecedented  development  and  expansion  shown  by  the  paint 
and  varnish  industry  during  the  past  fifteen  years  is  directly  traceable  to 
the  widespread  tests  of  raw  materials  and  finished  products  conducted  by 
the  American  Society  for  Testing  Materials,  the  Paint  and  \  arnish 
Manufacturers’  Association  and  other  organizations  interested  in  the 
progress  of  paint  and  varnish  making.  Among  other  things  these  tests 
have  proved  that  the  average  high-grade,  ready-mixed  paint,  put  out 
by  reputable  paint  manufacturers,  is  superior  in  durability  and  general 
satisfaction  to  a  paint  composed  only  of  any  single  white  pigment  and 
linseed  oil.  Practically  all  of  the  standard,  ready-mixed  paints  on  the 
market  today  are  composed  of  varying  percentages  of  white  lead,  white 
zinc  and  the  proportion  of  inert  material  according  to  the  formula  of  each 
individual  manufacturer,  that  will,  when  properly  applied,  produce  a 
long-wearing  and  durable  paint  coat. 


42 


Cracking. — Type  of  Decay  Exhibited  by  Improperly  Made  Paint 
(magnified  view) 


43 


PAINTING  IS  AN  INVESTMENT  NOT  AN  EXPENSE 


Chapter  9 

DEFECTS  OF  PAINTS  AND  VARNISHES 

With  the  passing  of  time,  paints  and  varnishes  frequently  develop  serious 
defects  and  faults,  and  it  is  well  to  know  about  them,  so  that  industrial 
painting  may  be  done  in  such  a  manner  as  to  bring  about  maximum  dura¬ 
bility  and  service. 

The  faults  so  described  can  take  place  on  practically  any  character  of 
surface,  as  they  usually  depend  upon  the  condition  of  the  surface  when 
finished,  the  kind  of  paint  or  varnish  used,  how  applied,  and  the  atmos¬ 
pheric  conditions  when  applied.  Since  paints  develop  slightly  different 
faults  from  those  of  varnishes,  each  class  of  material  will  be  treated  sepa¬ 
rately.  The  most  general  defects  of  paints  are  the  following: 

Checking  refers  to  slight  breaks  in  the  paint  coat,  which  do  not  extend 
through  to  the  surface  painted. 

Alligatoring  is  an  aggravated  form  of  checking.  Frequently  caused  by 
applying  finishing  coats  over  priming  or  second  coats  before  they  are 
thoroughly  dry. 

Cracking  describes  a  break  which  extends  through  the  paint  coating  to  the 
surface  underneath.  These  breaks  may  run  either  parallel  with  or 
across  the  grain  of  the  wood. 

Flaking  describes  the  falling  away  of  small  pieces  of  the  paint  coat.  This 
type  of  disintegration  usually  starts  with  checking,  developing  into 
cracking,  and  finally  dislodgment  of  the  cracked  sections  from  the 
surface. 

Scaling  is  flaking  in  an  aggravated  form,  a  falling-off  of  the  paint  coating 
in  large  sections.  It  usually  occurs  parallel  with  the  grain  of  the  wood. 

Blistering  describes  a  condition  where  the  paint  coat  is  detached  and 
raised  from  the  surface  over  which  it  is  applied,  due  to  the  formation 
of  gases  beneath  the  coating.  The  most  common  cause  of  blistering 
is  the  application  of  paint  over  a  damp  or  moist  surface,  and,  under  the 
action  of  the  sun’s  rays,  the  moisture  is  drawn  out  of  the  wood,  of 
necessity  taking  the  paint  coating  with  it  in  the  form  of  blisters.  The 
breaking  of  the  blisters  results  in  the  peeling  of  the  paint  coat. 

Peeling  is  a  still  more  aggravated  form  of  scaling,  usually  due  to  the 
presence  of  moisture  when  the  paint  was  applied,  or  to  other  faulty 
application  of  the  priming  coat. 

Chalking  describes  the  powdering-off  of  the  paint  coating,  allowing  the 
pigment  only  to  remain  on  the  surface,  with  no  binder.  In  a  properly 


45 


GOOD  LIGHTING  DOES  NOT  DEPEND  SOLELY  UPON  DIRECT  ILLUMINATION 


made  paint,  applied  correctly,  chalking  should  take  place  very  slowly. 
In  other  words,  a  good  paint  should  chalk,  but  the  chalking  should  be 
a  gradual  process  and  extend  over  a  period  of  years,  so  that  when 
repainting  becomes  necessary,  the  surface  would  be  in  good  condition 
to  receive  the  new  coat,  with  little,  if  any,  preparatory  work  being 
required. 

General  Disintegration:  This  is  the  complete  breaking-down  of  the 
paint  film,  generally  due  to  long  and  continued  exposure;  although 
the  use  of  an  improperly  made  paint  for  the  particular  surface  involved, 
as  well  as  its  faulty  application,  may  cause  the  paint  film  to  go  to 
pieces  in  a  comparatively  short  time. 

Mildew:  This  is  a  fungus  substance  frequently  noticed  on  wooden  sur¬ 
faces  exposed  in  damp,  warm  climates.  This  is  usually  to  be  found  on 
surfaces  covered  with  a  paint  of  a  soft,  chalky  nature.  Such  paints  act 
like  flypaper,  and  afford  lodgment  for  wind-blown  matter  from  decayed 
and  dried  vegetation.  Sometimes  the  oil  with  which  the  paint  is  made 
or  mixed  is  infected,  and  offers  a  breeding  place  for  mildew  germs. 

The  best  cure  for  mildew  is  the  use  of  hard-drying  paints  that 
remain  clean  and  unaffected. 

Varnishes  develop  “deviltries”  from  causes  similar  to  those  cited  pre¬ 
viously,  affecting  the  varnish  coat  in  slightly  different  forms. ,  These  are 

very  well  described  in  “ A  Varnish  Catechism  for  I  arnish  Men ,  by  George 

B.  Heckel  ,  as  follows: 

What  is  “bloom”?  An  opalescence  of  surface  caused  by  contact  with 
moisture,  as  by  excessive  humidity,  before  complete  drying.  It  may 
occur  at  any  time  as  a  temporary  phenomenon,  disappearing  on  drying. 
When  ammonia  is  present  in  the  atmosphere,  however,  the  change  is  a 
chemical  one  and  is  permanent. 

What  is  “blistering”?  The  formation  of  blisters  or  pustules  on  a  var¬ 
nished  surface.  It  may  be  due  to  underlying  spots  of  grease,  sap  or 
moisture,  to  excessive  heat,  or  to  direct  exposure  to  the  sun  during  the 
process  of  drying. 

What  is  “spotting”?  The  appearance  of  discolored  spots  on  a  varnished 
surface.  It  may  be  due  to  chill  of  the  fresh  varnish,  separating  its 
constituents;  to  substances  on  the  surface  at  the  time  of  varnishing; 
or  to  splashes  of  liquids  before  the  varnish  has  dried.  If  it  occurs  from 
splashes  of  mud,  wash  with  cold  water,  dry  thoroughly  and  stand  in 
the  sun. 

What  is  “crazing”?  The  appearance  of  minute  interlacing  cracks  on  a 
varnished  surface.  It  may  be  due  to  extreme  cold,  to  excess  of  hard 
gums,  or  to  the  selection  of  a  varnish  insufficiently  elastic  for  the  use 
to  which  it  has  been  adapted. 


46 


. 


, 


WHAT  IS  THE  LIGHT-REFLECTING  VALUE  OF  YOUR  WALLS  AND  CEILINGS? 


What  is  “sweating”?  The  reappearance  of  luster  on  a  varnished  surface 
which  has  been  “rubbed”  to  a  “dull  finish.”  It  is  due  most  frequently 
to  application  of  the  finishing  coat  before  the  undercoats  have  properly 
hardened. 

What  is  “powdering”  or  “flouring”?  The  gradual  crumbling  of  a 
varnish  into  dust.  It  may  be  due  to  the  selection  of  an  improper 
varnish  for  the  use — as  where  an  interior  varnish  is  substituted  for  an 
exterior  varnish;  to  the  use  of  improper  materials;  or,  in  some  instances, 
to  accidental  and  abnormal  conditions  of  exposure. 

What  is  “livering”?  The  coagulation  of  varnish  or  paint  into  a  viscous, 
liverlike  mass.  It  usually  occurs  when  varnishes  are  improperly  mixed 
with  paint  or  with  other  varnish.  It  generally  indicates  a  chemical 
reaction  resulting  in  the  separation  of  some  of  the  ingredients  and  the 
formation  of  new  combinations.  Unknown  mixing  varnishes,  or  known 
mixing  varnishes  to  be  used  in  untried  combination,  should  always  be 
tested  before  adoption  on  a  large  scale.  Submission  to  the  varnish 
manufacturers  of  a  sample  of  the  material  to  be  used  will  always  enable 
him  to  supply  goods  free  from  this  defect.  Occasionally,  though 
rarely,  varnish  may  “liver”  in  the  can.  When  this  occurs  it  is  usually 
due  to  extreme  cold,  which  has  caused  separation  of  some  of  the 
ingredients.  Varnish  should  always  be  stored  in  a  moderately  warm 
room,  subjected  only  to  moderate  temperature  changes. 

What  is  “crawling”?  A  term  used  to  describe  the  refusal  of  varnish  to 
spread  or  flow  out  smoothly  on  a  surface.  The  cause  is  physical, 
resulting  from  preponderance  of  surface  tension  and  cohesion  over 
capillary  attraction.  It  may  be  due  to  excessive  viscosity  of  the  varnish 
itself,  or  to  conditions  of  surface — low  temperature,  moisture,  grease, 
etc.,  especially  where  the  surface  to  be  coated  is  highly  polished. 
Correction  of  the  defect  is  indicated  in  each  case  by  the  cause. 

What  is  “chipping”  or  “flaking”?  This  defect  often  follows  cracking 
and  is  due  to  the  same  causes. 


What  is  “cracking”  ?  An  intensification  of  the  defect  known  as  “crazing,” 
due  to  the  same  causes,  but  especially  to  cold  and  to  the  application 
of  a  less  elastic  over  a  more  elastic  coat. 


What  is  “deadening”?  In  effect  the  opposite  of  sweating — the  varnish 
loses  its  luster.  It  may  be  due  to  insufficient  or  defective  undercoat, 
most  frequently  to  improper  filling  of  the  wood. 


What  is  “skinning”?  The  formation  of  a  “skin”  or  crust  on  varnish  in 
the  can  or  container.  It  is  due  to  surface  “drying”  or  oxidation  from 
exposure  to  the  air,  and  is  inevitable  when  varnish  is  thus  exposed. 
Such  exposure  also  permits  the  evaporation  of  the  volatile  materials, 


47 


Scaling. — Type  of  Decay  Exhibited  by  Improperly  Made  Paint  (magnified  view) 


48 


BETTER  LIGHTING  INCREASES  PRODUCTION  FROM  G  TO  12% 


and  leads  to  deterioration.  Varnish  should  always  be  kept  in  full 
vessels  tightly  corked  or  sealed,  and  remnants  from  larger  cans  should 
always  be  poured  into  smaller  cans  for  preservation,  the  object  being 
to  remove  air-space. 

What  is  “tack”  or  “tackiness”?  The  adhesive  property  of  incom¬ 
pletely  dried  varnish.  After  “setting,”  varnishes  retain  their  “tack” 
or  “tackiness”  until  completely  dry.  In  this  condition  they  catch 
and  hold  dust,  adhere  to  the  clothing,  etc.  Slow-drying  varnishes 
naturally  remain  in  this  condition  longer  than  quick-drying  varnishes. 
A  slight  elevation  in  temperature  may  cause  a  recurrence  of  the  con¬ 
dition  in  some  varnishes.  This  is  unobjectionable,  for  example,  in 
spar  varnish.  Proper  selection  of  varnish  for  its  intended  use  is 
always  essential.  Tackiness  is  frequently  caused,  especially  in  the 
refinishing  of  old  work,  by  applying  varnish  over  a  greasy  or  unclean 
surface.  Complete  removal  is  the  only  cure. 

What  is  “pitting”  or  “pinholing”?  The  terms  describe  the  appearance. 
The  causes  are  changes  in  atmospheric  conditions  during  drying, 
mixing  different  varnishes,  application  over  sweating  or  incompletely 
dried  undercoats  or  in  a  moist  atmosphere,  rubbing  through  to  the 
undercoats,  dirty  varnish,  spots  of  grease  or  soap,  frothy  varnish  and 
cold  draughts. 

What  is  “enameling”  or  “silking”?  These  terms  describe  an  appear¬ 
ance  similar  to  that  of  enameled  leather  or  silk,  silking  being  the 
incipient  stage  of  “enameling.”  Application  in  hot,  humid  weather, 
too  long  continued  brushing,  use  of  a  brush  saturated  with  oil,  or  mixing 
different  grades  of  varnish  are  the  chief  causes. 

What  is  “deadening”  or  “clouding”?  Loss  of  luster.  The  causes, 
according  to  Hillick,  are  unseasoned  lumber,  imperfectly  dried  under¬ 
coats  and  porous  undercoats,  the  last-named  being  the  most  frequent 
cause.  Coal  gas  also  may  cause  clouding. 

What  is  “seedy,”  “specky”  or  “sandy”  varnish?  Varnish  may  be 
found  full  of  small  grains.  This  may  be  due  to  chill  in  transit  or  in 
storage,  or  a  decided  difference  in  temperature  between  the  varnish 
and  the  work.  Allow  the  varnish  to  reach  the  temperature  of  the  work 
before  applying.  The  same  appearance  may  be  caused  by  what 
painters  term  a  “lousy”  brush.  Use  only  an  absolutely  clean  brush. 

What  are  “runs”  and  “sags”?  Irregularities  of  surface  due  to  uneven 
flow  of  the  varnish.  The  most  frequent  causes  are  too  much  varnish, 
incomplete  brushing  and  an  inelastic  brush.  When  fresh  they  may  be 
wiped  off  with  turpentine.  If  in  the  finishing  coat  on  fine  work,  the 
entire  coat  may  require  removal.  In  rubbing  coats,  the  rubbing  will 
remove  them. 


Blistering. — Type  of  Decay  Exhibited  by  Improperly  Made  Paint 
(magnified  view) 


50 


DAYLIGHT  IS  THE  CHEAPEST  LIGHT 


What  is  “crinkling,”  “wrinkling,”  “puckering”  or  “crimping”? 

These  terms  describe  conditions  similar  to  “runs”  and  “sags,”  and  are 
generally  due  to  the  same  causes,  the  chief  of  which  is  attempting  to 
substitute  a  few  heavy  coats  for  more  thin  ones.  A  sudden  lowering 
of  temperature,  by  removal  of  the  freshly  varnished  surface  from  the 
warm  varnish  room  to  a  cold  repository,  is  a  frequent  cause.  Removal 
of  the  coat  is  the  remedy. 


What  are  “brush-marks”?  Marks  of  the  brush  caused  by  working  the 
varnish  after  it  has  begun  to  set.  If  in  rubbing  coats,  they  may  be 
removed  in  the  rubbing  process.  Brush-marks  in  paint  or  rough  stuff 
undercoats  will  show  through  the  varnish  coats.  All  paint  coats  under 
varnish  must  be  laid  on  thin  and  smooth. 


What  are  “ribs”?  An  appearance  due  to  the  development  of  brush- 
marks  in  undercoats.  They  are  commonly  due  to  the  use  of  rubbing 
varnish  of  excessive  body,  which  favors  excessively  heavy  coats. 


What  is  “perishing,”  “crumbling”  or  “rusting”?  “By  this  we  mean 
a  gradual  loss  of  luster,  the  final  result  of  which  is  a  disruption  of  the 
surface,  ending  in  a  complete  destruction  of  the  varnish.  Washing 
with  water  heated  beyond  the  tepid  degree  is  an  engaging  bid  for  this 
disaster.  Ammonia  fumes,  coal  gas,  salt  sea  air,  soil  of  limestone 
localities,  etc.,  cause  varnish  to  perish  and  crumble.” — Hillick. 

What  is  “greening”  or  “blueing”?  A  decided  green  or  blue  “cast”  in 
black-finished  work.  Clear  varnish  over  a  black  japan  ground  is  a 
common  cause.  It  is  avoided  by  adding  black  to  all  except  the  finish¬ 
ing  coat.  Freshly  varnished  surfaces  stored  in  the  dark  “green” 
rapidly.  Plenty  of  light  during  drying  is  the  remedy. 


What  are  “fire-checks”?  Delicate,  intricate  and  almost  invisible  sur¬ 
face  cracks.  These  appear  usually  after  the  finishing  coat  has  been 
applied.  One  or  two  extra  coats  of  rubbing  varnish  will  usually 
obliterate  them. 


51 


Chalking. — Type  of  Decay  Exhibited  by  Improperly  Made  Paint 
(magnified  view) 


52 


General  Disintegration. — Type  of  Decay  Exhibited  by  Improperly 
Made  Paint  (magnified  view) 


53 


CHEAP  PAINT  COSTS  TOO  MUCH  TO  USE 


Chapter  10 

PROPER  FINISHES  FOR  WOOD  SURFACES 

In  considering  the  correct  paint  or  varnish  for  wood  surfaces,  the  follow¬ 
ing  characteristics  should  be  borne  in  mind: 

It  should  be  composed  of  the  combination  of  pigment  and  vehicle  that 
has  proved  to  give  maximum  durability  and  service  under  average  circum¬ 
stances.  In  other  words,  as  applying  to  paint  or  varnish,  it  should  show 
under  the  widest  range  of  practical  conditions — 

good  hiding  power, 
adhesiveness, 

freedom  from  internal  strains, 
permanency  of  color, 

relatively  high  imperviousness  to  moisture, 

sufficient  elasticity  to  prevent  scaling  or  cracking  when  subjected 
to  natural  expansion  or  contraction  of  the  surface  beneath, 
freedom  from  chemical  reaction  which  results  in  deep  checking, 
excessive  chalking  or  discoloration  of  the  surface. 

The  modern  paint  and  varnish  manufacturer  is  in  a  position  to  know  what 
the  proper  combination  of  these  ingredients  should  be,  so  that  the  use  of  a 
standard,  high-grade,  trade-marked  product.,  bearing  the  name  of  a  repu¬ 
table  manufacturer  on  the  label,  should  be  sufficient  guarantee. 

Paint  manufacturers  have  developed  finishes  to  meet  practically  every 
need  of  wood  surfaces  about  industrial  plants.  Sometimes  it  is  not  essential 
to  use  a  high-quality  prepared  paint.  Frequently  another  type  of  paint 
will  serve  the  purpose  equally  well  and  cost  considerably  less.  The  saving 
in  cost  is  due  to  the  use  of  a  different  type  of  pigment  and  oil — combina¬ 
tions  that  have  been  severely  tested  by  the  manufacturer  under  practical 
conditions  before  offering  them  for  sale.  Such  products  can  be  depended 
upon  to  give  good  service  and  should  be  purchased  without  hesitation. 
These  finishes  are  used  on  such  surfaces  as: 

Fences 

Poles 

Tanks,  etc. 

Certain  exterior  surfaces,  such  as  shingle  roofs  or  siding,  and  cedar  tanks, 
should  be  given  a  coat,  of  a  good,  penetrating,  creosote  stain  instead  of  a 
ready-mixed  paint.  For  this  purpose  the  standard  shingle  stains  on  the 
market  are  proper  to  use. 

Complete  instructions  for  the  practical  treatment  of  all  exterior  and 
interior  wood  surfaces  are  given  in  Chapters  13  and  14,  pages  63  to  85. 


55 


TIME  IS  THE  ONLY  TEST  OF  THE  QUALITY  OF  PAINT  AND  VARNISH 


Chapter  11 

PREPARATION  OF  THE  SURFACE  FOR  PAINTING 

The  necessity  of  having  proper  surface  conditions  for  painting  is  of 
utmost  importance.  No  matter  how  good  the  paint  may  be,  or  how  well 
suited  for  the  purpose,  it  will  be  an  absolute  failure  from  a  protection  and 
preservation  standpoint,  if  applied  over  a  dirty  or  improperly-prepared 
surface.  Surface  preparation  is  the  first  step  in  good  painting. 


New  Wood  Surfaces 

The  surface  to  be  painted  must  be  thoroughly  dry.  Moisture  in  lumber  is 
responsible  for  many  spoiled  jobs  of  painting. 

“The  lumber  expert  recognizes  water  in  wood  as  existing  in  two  forms — 
in  the  cell  walls  and  in  the  pores.  It  is  known  that  the  free  water  in  the 
pores  is  largely  eliminated  by  the  average  period  of  air-seasoning  without 
much  change  in  the  lumber.  Still  further  seasoning  eliminates  some  of  the 
moisture  in  the  cell  walls,  and.  as  a  result,  some  slight  shrinkage  may  take 
place  in  the  wood.  Lumber  seasoned  to  this  extent  is,  of  course,  in  the  most 
receptive  condition  for  paint,  as  it  allows  deep  penetration  of  the  priming 
liquids  which  form  the  bonding  coat.  It  is,  however,  bad  practice  to  allow 
frame  structures  a  long  period  of  seasoning  before  painting.  The  very 
purpose  of  applying  paint  to  timber  is  to  prevent  the  accumulation  of  dirt 
and  to  protect  the  wood  from  the  destroying  fungi  that  assert  their  presence 
in  the  form  of  deep-seated  stains.  It  is  advisable,  therefore,  to  apply  a  thin 
priming  coat  and  a  medium  body  coat  of  paint  to  all  wooden  structures 
immediately  after  erection.  If  these  coats  are  thin,  well  brushed  out  and 
allowed  sufficient  time  to  dry,  the  wood  will  be  coated  with  a  film  possessing 
valve  action.  Moisture  from  the  outside  will  be  denied  ready  entrance, 
but  moisture  in  the  wood  will  be  allowed  to  escape  freely  during  dry  weather. 

The  action  of  the  sun  will,  moreover,  bring  to  the  surface,  without  causing 
bad  effects,  any  resin  or  sap  which  might  be  present  in  the  surface  of  the 
wood.  From  four  to  six  months’  exposure  will  generally  be  found  sufficient 
to  weather  out  all  of  the  objectionable  contents  of  the  lumber.  It  should 
then  receive  two  more  coats  of  paint.  Even  the  most  oily  or  resinous  types 
of  wood  may  be  successfully  painted  in  this  fashion,  without  fear  of  sub¬ 
sequent  bad  effects.” — “ Observations  of  Painted  Lumber,” — by  H.  A. 

Gardner,  Director,  Institute  of  Paint  and  Varnish  Research,  Washington, 

D.  C. 

Exterior  painting  should  not  be  done  until  all  fresh  plaster  on  the  inside 
of  the  building  is  entirely  dry.  If  this  precaution  is  not  observed,  the 
moisture  in  the  plaster  may  be  drawn  out  through  the  wood  by  the  heat 
of  the  sun,  and  the  paint  coating  will  blister  and  peel. 

Upkeep  painting  may  be  done  throughout  the  year.  When  weather 
conditions  are  not  right  for  exterior  work,  inside  surfaces  can  be  given 
attention.  Naturally,  it  is  not  advisable  to  do  outside  painting  during 
wet  or  damp  weather,  or  when  the  weather  is  extremely  cold.  Exterior 

57 


GOOD  PAINT  AND  VARNISH  HOLDS  DOWN  UPKEEP  COST 


painting  may  be  done,  however,  on  bright,  sunshiny  days,  even  in  winter, 
provided  the  surface  is  dry.  That  is  the  most  important  consideration. 

All  surfaces  to  be  painted  should  be  perfectly  clean  and  free  from  dust 
and  dirt.  Where  dirt  adheres  tightly  to  the  surface,  scrapers  should  be 
used,  followed  by  a  thorough  brushing  with  a  painter’s  duster.  Such  loose 
particles  are  apt  to  work  up  under  the  brush  and  not  only  spoil  the  appear¬ 
ance  of  the  finished  work  but  seriously  affect  the  durability  of  the  paint 
film.  All  sap-streaks  or  knots  should  be  brushed  with  turpentine  before 
applying  the  paint.  This  treatment  will  soften  the  resin  in  the  wood  and 
allow  the  priming  or  first  coat  of  paint  to  soak  thoroughly  into  the  wood  and 
prevent  scaling. 

Old  Wood  Surfaces 

It  is  first  necessary  to  prepare  the  surface  so  that  the  paint  will  have  an 
opportunity  to  properly  adhere.  All  loose  paint,  paint  that  is  peeling  or 
partially  detached,  should  be  carefully  removed  by  scraping,  sandpapering, 
wire  brushing,  etc.  In  aggravated  cases  the  paint  should  be  entirely 
removed  and  the  surface  treated  the  same  as  recommended  for  new  work, 
as,  in  most  cases,  the  fault  of  the  previous  coat  was  due  to  imperfect  or 
entire  lack  of  penetration.  Brush  or  wipe  off  all  dust  and  dirt.  Make  sure 
that  all  leaking  spouts,  gutters,  etc.,  are  repaired  and  the  adjacent  wood 
allowed  to  thoroughly  dry  before  repainting.  If  the  surface  to  be  painted 
possesses  a  gloss,  sandpaper  the  present  finish  sufficiently  to  remove  a 
portion  of  the  gloss,  so  that  the  new  coat  will  adhere  to  the  surface  and  not 
“roll  up”  under  the  brush.  It  is  not  practicable  to  apply  a  new  finish  over 
a  gloss  surface  without  this  preliminary  treatment. 

The  same  instructions  relative  to  the  presence  of  moisture  and  weather 
conditions  as  referred  to  under  “New  Surfaces”  should  be  observed  in 
treatment  of  previously  painted  surfaces. 


58 


LET  THE  PAINT  MANUFACTURER  SOLVE  YOUR  PAINT  PROBLEMS 


Chapter  12 

GENERAL  METHODS  OF  APPLICATION 

The  complete  incorporation  of  the  pigment  with  the  liquid  portion  of 
the  paint  is  the  first  necessity.  Failure  to  thoroughly  mix  the  ingredients 
in  the  paint  has  been  the  cause  of  many  poor  results  and  much  faulty  sur¬ 
face  protection.  Paint  that  is  not  thoroughly  stirred  cannot  produce  the 
proper  finish  for  the  reason  that  when  the  application  is  begun,  the  paint 
will  be  too  thin,  will  run  and  fail  to  properly  hide  the  surface.  Thorough 
stirring  is  absolutely  essential  for  best  results. 


Methods  of  Stirring 

The  correct  method  to  follow  in  preparing  a  package  of  paint  for  use  is 
as  follows: 

If  a  barrel,  half  barrel  or  five-gallon  package,  remove  the  head  or  top 
completely;  if  a  gallon  or  half-gallon  can,  cut  out  the  entire  top.  Do  not 
attempt  to  prepare  the  paint  for  use  by  cutting  around  a  portion  of  the 
top  and  turning  the  lid  back.  Have  another  empty  and  perfectly  clean 
package,  large  enough  to  hold  at  least  half  the  contents  of  the  original 
container.  If  an  attempt  is  made  to  stir  the  contents  of  a  full  package, 
much  of  the  liquid  may  splash  about  and  a  longer  time  than  necessary  will 
be  required  to  make  the  contents  ready  for  use.  Pour  off  most  of  the  liquid 
contents,  without  stirring,  into  the  empty  receptacle.  It  is  not  sufficient 
to  take  a  stick  or  anything  that  is  handy  and  endeavor  to  make  the  paint 
ready  for  application  by  stirring  it  for  a  few  minutes  through  the  middle 
of  the  package.  Use  a  broad,  flat,  clean  paddle  and  thoroughly  stir  the 
remaining  contents  until  a  uniform  consistency  is  obtained.  All  pigment 
that  may  have  settled  around  the  edge  of  the  package,  or  at  the  bottom, 
must  be  loosened  up  and  thoroughly  mixed  with  the  remaining  oil.  When 
mixed  to  a  smooth,  even  consistency,  pour  back  the  liquid  portion  in  the 
other  container,  a  little  at  a  time,  thoroughly  stirring  all  the  while.  Stir 
each  lot  into  the  pigment  completely  before  adding  more.  Finally  all  the 
liquid  will  be  back  in  the  original  container  and  the  paint  be  in  ideal  shape 
for  application. 

Priming  Coat — New  Wood  Surface  or  Surface 
Not  Previously  Painted 

For  successfully  painting  newr  wood  surfaces  or  old  wood  surfaces  not 
previously  painted,  the  preparation  of  the  priming  coat  is  of  utmost  impor¬ 
tance.  General  instructions  for  the  correct  thinner  to  use  on  various  woods 
are  given  in  Chapter  6,  page  25,  entitled  “Woods  and  Their  Treatment.” 


59 


A  PAINT  FILM  IS  ONLY  1/500tH  OF  AN  INCH  IN  THICKNESS 


A  very  important  point,  however,  and  one  which  is  often  disregarded,  is 
the  fact  that  on  the  'priming  coat  depend  the  wearing  qualities  and  durability 
of  the  succeeding  or  finishing  coats.  “Any  old  paint''  is  not  good  enough  for 
a  primer.  The  main  function  of  the  priming  coat  is  to  penetrate  the  pores 
of  the  wood,  secure  a  firm  “grip”  on  the  surface  and  create  the  proper 
foundation  for  succeeding  or  finishing  coats  of  paint.  The  practice  of 
applying  a  primer  composed  of  dry  ochre  mixed  by  hand  with  linseed  oil 
and  dryer  cannot  be  too  severely  condemned.  Such  a  primer  will  inevitably 
ruin  finishing  coats,  no  matter  how  good  the  material  may  be.  A  primer 
of  this  nature  does  not  afford  a  proper  bond  between  it  and  the  succeeding 
coats  so  that  they  cannot  unite  with  each  other  and  form  a  complete, 
impervious  film.  In  practically  every  instance  where  such  a  primer  is  used 
the  succeeding  coats  will  peel  and  crack,  for  the  reason  that  after  the  oil 
in  the  primer  is  absorbed  by  the  wood  there  is  little  left  to  which  following 
coats  may  adhere. 

Some  industrial  paint  shops  keep  a  container  into  which  are  placed  rem¬ 
nants  of  paints  and  various  mixtures,  from  which  priming  coats  are  pre¬ 
pared.  In  standing  around,  the  mixture  becomes  contaminated  with  foreign 
material,  it  skins  over  and  the  oil  becomes  fatty  and  harmful.  A  priming 
coat  composed  of  such  a  mixture  cannot  give  anything  but  disastrous 
results.  The  best  paint  possible  to  purchase  is  none  too  good  for  the  priming 
coat. 

Priming  Coat  Previously  Painted  Surfaces 

Surfaces  that  have  been  previously  painted  may  require  two  coats  for 
a  satisfactory  finish.  When  such  is  the  case  the  first  coat  should  be  thinned 
with  linseed  oil  and  turpentine  to  insure  penetration  through  the  old  paint. 
(See  instructions  for  application  on  specific  surfaces.)  Where  the  surface 
is  in  good  condition  but  one  coat  may  be  necessary.  In  this  case,  it  is 
advisable  to  add  about  a  half  pint  of  pure  turpentine  to  each  gallon  of  paint 
used,  in  order  that  the  new  coat  may  partly  penetrate  into  the  old  paint. 
In  this  way  the  new  and  the  old  paint  will  be  closely  bound  together. 

Application 

On  new  work  three  thin  coats  thoroughly  brushed  out  are  recommended. 
Three  thin  coats  will  wear  longer  and  give  better  protection  to  the  surface 
than  two  thick  coats  applied  heavily.  Where  three  coats  are  to  be  applied, 
the  second  coat  should  be  thinned  with  a  pint  of  pure  turpentine  to  the 
gallon  of  paint  to  secure  partial  penetration.  Addition  of  turpentine  also 
“cuts”  the  gloss,  permitting  the  third  or  finishing  coat  to  adhere  firmly  to 
the  surface. 

Do  not  attempt  complete  coverage  of  the  surface  with  the  priming  coat. 
This  coat  should  be  more  or  less  transparent  after  thorough  brushing  into 
the  pores  of  the  wood. 


60 


WHY  EXPERIMENT  WITH  UNKNOWN  BRANDS? 


Be  sure  to  allow  ample  time  for  complete  drying  behveen  coats.  Haste  in 
completing  a  painting  job  is  responsible  for  much  later  dissatisfaction. 
Allow  from  three  days  to  a  week  or  more  between  coats,  depending  upon 
atmospheric  conditions,  so  that  there  will  be  no  chance  of  applying  a 
second  or  finishing  coat  over  one  that  has  not  thoroughly  dried. 

Where  paint  is  applied  with  the  spray,  care  should  be  exercised  to  see 
that  it  is  not  applied  too  heavily,  but  that  the  spray  is  manipulated  in  such 
a  wray  as  to  satisfy  the  nature  of  the  surface  and  build  up  the  proper  thick¬ 
ness  of  film.  (See  Chapter  24  for  further  information  on  the  use  of  the 
spraying  machine.) 

Finishing  Coat 

After  the  material  has  been  thoroughly  stirred  in  accordance  with  pre¬ 
vious  instructions,  it  should  be  applied,  in  most  instances,  in  the  consist¬ 
ency  in  which  it  is  received.  Paint  manufacturers  generally  prepare 
standard,  high-grade,  mixed  paints  in  the  proper  consistency  for  finishing 
coat  work.  This  permits  the  addition  of  thinners  as  directed  for  priming 
and  second  coat  application.  Thorough  brushing  of  the  finishing  coat  is 
also  necessary,  except  where  enamels  and  varnishes  are  used. 

Enamels 

Where  an  enamel  finish  is  desired  it  is  necessary,  first,  to  build  up  the 
proper  foundation  with  flat  coats.  All  enamels,  particularly  white,  are 
more  or  less  transparent  and  any  imperfection  in  the  priming  coats  will 
show  in  the  finished  result.  An  enamel  cannot  be  applied  over  a  glossy 
surface  with  any  assurance  of  permanent  satisfaction.  It  may  look  well 
for  a  time,  but  readily  chips  and  scales  because  the  surface  to  which  it  is 
applied  is  too  smooth  to  offer  a  “grip”  for  the  new  coat.  Where  a  surface 
has  been  previously  enameled  and  a  new  coat  is  to  be  applied,  it  is  neces¬ 
sary  to  rub  down  the  surface  with  fine  sandpaper  in  order  to  remove  a  por¬ 
tion  of  the  gloss  so  that  the  new  enamel  coat  may  adhere.  Full  directions 
for  applying  enamels  are  given  in  Chapter  14,  page  81. 

Varnishes 

General  instructions  for  the  application  of  varnishes  are  given  in  Chapter 
4,  page  19. 

Brushes 

Emphasis  should  be  placed  upon  the  necessity  of  using  the  correct 
brush  for  the  particular  work  in  hand.  It  is  impossible  to  produce  a  satis¬ 
factory  finish  with  the  wrong  kind  or  defective  brushes.  This  subject  is 
covered  completely  in  Chapter  25,  page  191.  Familiarize  yourself  with  the 
important  points  covered  by  this  chapter  in  order  to  insure  satisfaction 
with  the  finished  work. 


61 


PROPER  PREPARATION  OE  THE  SURFACE  IS  ESSENTIAL  FOR  GOOD  RESULTS 


Don’ts 


Don’t  paint  over  a  wet  surface  or  during  wet  weather. 

Don’t  paint  over  a  surface  that  is  not  perfectly  clean  and  free  from  dust 
and  dirt. 

Don’t  pile  a  number  of  paint  coats,  one  on  top  of  the  other.  In  time  the 
coats  will  be  so  heavy  that  they  will  break  down  of  their  own  weight. 
It  is  necessary  to  remove  piled-up  coats  at  intervals,  so  as  to  prepare 
the  proper  foundation  for  the  new  finish. 

Don't  apply  paint  too  heavily.  See  that  each  coat  is  thoroughly  brushed 
out. 

Don’t  fail  to  thoroughly  stir  the  paint  before  application.  This  means 
seeing  that  all  lumps  or  heavy  portions  are  thoroughly  mixed  with  the 
liquid  part  of  the  paint. 

Don't  add  lead  in  oil  to  a  high  quality  prepared  paint  to  “make  it  heavier 
in  body.”  The  paint  will  be  of  proper  consistency  if  thoroughly  stirred. 

Don't  apply  succeeding  coats  without  allowing  sufficient  time  for  thorough 
drying.  It  is  better  to  allow  too  much  time  than  too  little. 

Don’t  fail  to  paint  surfaces  with  sufficient  frequency  to  prevent  decay  and 
deterioration.  It  is  false  economy  to  attempt  to  save  money  by 
failure  to  paint  when  painting  should  be  done. 

Don’t  fail  to  follow  directions,  especially  with  regard  to  the  addition  of 
thinners  and  the  application  of  the  material. 


62 


. 


ALLOW  AMPLE  TIME  FOR  THOROUGH  DRYING  BETWEEN  COATS 


Chapter  13 


EXTERIOR  WOOD  SURFACES  AND 
THEIR  PROTECTION 

In  addition  to  wood  used  for  building  construction,  there  are  a  wide 
variety  of  wood  surfaces  in  industrial  plants  and  equipment  requiring  sur¬ 
face  protection.  This  chapter  is  devoted  to  the  proper  painting  of  such 
surfaces,  describing  the  characteristics  of  finishes  that  will  meet  the  varied 
conditions  to  which  they  are  subjected. 


FACTORY  AND  MILL  BUILDINGS 
New  Surfaces 


Requirements:  A  ready-mixed  paint  that  will  wear  well,  keep  its  color 
and  give  maximum  surface  protection. 

Refer  to  Chapter  11,  “Preparation  of  the  Surface  for  Painting,”  and 
Chapter  12,  “General  Methods  of  Application.” 


Application:  See  that  the  surface  is  dry  and  free  from  dust  and  dirt. 


Close-grained 

Non-absorbent 

Woods 


Close-grained 
Woods — Medium 
Absorbers 


Open-grained 
Soft  Woods, 
Good  Absorbers 


Preparation  neces¬ 
sary  for 

First  or  Priming 
Coat 


Second  Coat 


Third  Coat 


Add 

One  part  Linseed 
Oil,  two  parts  Tur¬ 
pentine,  proportion 
1  to  1^  pints  per 
gallon. 


Add 

Equal  parts  Lin¬ 
seed  Oil  and  Turpen¬ 
tine,  proportion  1  to 
1^2  pints  to  gallon. 


Add 

Two  parts  Lin¬ 
seed  Oil,  one  part 
Turpentine,  propor¬ 
tion  1  to  XYi  pints  to 
gallon. 


Add  for  all  woods  two  parts  raw  Linseed  Oil  and  one  part  Turpen¬ 
tine,  proportion  1  pint  to  the  gallon  of  paint. 

Apply  just  as  received  in  the  package,  after  thorough  stirring. 


Thorough  stirring  of  all  coats  absolutely  necessary. 

Ample  brushing  of  all  coats  required. 

Drying  Time :  Allow  at  least  48  hours  between  all  coats, — longer  if  possible. 
Drying  depends  upon  atmospheric  conditions.  Do  not  hurry  it.  Do 
not  add  extra  driers  to  prepared  paint.  Sufficient  drier  is  always 
incorporated  in  the  product. 

Material:  Du  Pont  Prepared  Paint, — see  shades  in  supplement,  page  2. 
Du  Pont  Barn  and  Roof  Paint, — see  shades  in  supplement,  page  9. 


63 


don’t  do  exterior  painting  in  wet  weather 


Spreading  Capacity:  Du  Pont  Prepared  Paint, — approximately 
350-400  sq.  ft.,  per  gallon,  two  coats  or 
250-300  sq.  ft.,  per  gallon,  three  coats. 

Du  Pont  Barn  and  Roof  Paint,  approximately  250  sq.  ft.,  per  gallon, 
two  coats. 

Previously  Finished  Surfaces 

Application:  See  that  the  surface  is  dry  and  free  from  dust  and  dirt. 

hor  first  coat,  thin  with  2  parts  raw  linseed  oil  and  1  part  turpentine 
in  the  proportion  of  13^  to  2  pints  to  the  gallon  of  paint.  These  propor¬ 
tions  may  be  varied  to  suit  the  condition  of  the  surface. 

Brush  well  into  the  wood  and  allow  at  least  48  hours  for  thorough 
drying. 

4  inishing  coat  to  be  applied  as  received  in  the  package  after  thor¬ 
ough  stirring. 

Material:  Same  as  for  New  Surfaces. 


Mill  Villages 

The  durability  of  the  paint  used  depends  as  much  on  the  colors  selected 
as  upon  the  quality  of  the  material  itself.  Where  the  atmosphere  is  impreg¬ 
nated  with  coal  dust,  sulphurous  gases,  etc.,  white  and  the  light  tints  of 
gray,  ivory,  etc.,  are  not  practical  to  use.  The  darker  shades  of  brown, 
gray,  green  and  the  like  are  recommended.  Where  conditions  are  not  so 
severe,  the  light  tints  are  much  more  cheery  and  to  be  desired. 

HOUSES,  GARAGES  AND  OUT-BUILDINGS 

New  Surfaces 

Requirements:  A  ready-mixed  paint  that  will  wear  well,  keep  its  color, 
and  protect  the  surface  for  the  greatest  length  of  time. 

Application:  Same  as  for  Factory  and  Mill  Buildings. 

After  the  priming  coat  has  dried,  all  cracks  and  nail  holes  should 
be  puttied. 

Material:  Du  Pont  Prepared  Paint, — see  shades  in  supplement,  page  2. 
Spreading  Capacity :  Approximately  350-400  sq.  ft.,  per  gallon,  two  coats. 

Previously  Finished  Surfaces 

See  that  the  surface  is  dry  and  free  from  dust  and  dirt. 

Follow  directions  for  thinning  and  applying  first  and  finishing  coats 
as  given  under  Factory  and  Mill  Buildings. 


64 


BE  SURE  THE  SURFACE  IS  DRY  BEFORE  APPLYING  THE  PAINT 


Material:  Du  Pont  Prepared  Paint,  see  shades  in  supplement,  page  2. 
Spreading  Capacity:  See  previous  page. 

Color  Scheme:  Use  same  colors  on  garages  and  out-buildings  as  selected 
for  house.  Follow  manufacturer’s  recommendations  for  appropriate 
trim  and  sash  colors. 

Roofs 

All  shingle  roofs  should  be  painted  or  stained.  An  unpainted  shingle 
roof  is  a  fire  hazard.  The  surface  becomes  “fuzzy,”  warped  and  cracked, 
affording  a  ready  lodgment  for  cinders,  burning  brands,  etc.  All  paint  and 
stain  are  more  or  less  “fire-retardant.”  Tests  show  that  a  painted  or  stained 
roof  offers  considerable  resistance  to  ignition,  whereas  an  unprotected  roof 
takes  fire  readily. 

Requirements:  A  creosote  shingle  stain,  of  the  color  selected. 


A 


B 


C 


D 


TORCH  TESTS 

Effect  of  torch  on  untreated  shingle  A  and  painted  shingle  B  at  end  of  one- 
minute  test.  Effect  of  torch  on  untreated  shingle  C  and  painted  shingle  D 
at  end  of  three-minute  test.  Note  effect  of  paint  in  preventing  spread  of  fire 
and  retarding  the  charring  of  the  wood 


65 


Effect  of  Cinder  Test  on  Painted  Shingle  No.  1  and  Untreated 
Shingle  No.  2.  Note  Deeply  Charred  Surface  of 
Untreated  Shingle 


66 


CONCRETE  AND  CEMENT  SURFACES  NEED  PROTECTION  THE  SAME  AS  WOOD  AND  METAL 


New  Shingles 

Application:  Shingles  must  be  dry. 

Best  results  require  dipping  before  laying  on  the  roof,  followed  by 
brush  coat  after  they  are  applied. 

Stir  stain  thoroughly. 

Pour  into  shallow  tub  or  tight  box,  of  a  depth  somewhat  greater 
than  the  desired  length  of  the  stained  portion  of  the  shingles.  Dip 
shingles  vertically  until  ends  strike  bottom.  See  that  stain  reaches 
every  part  of  the  immersed  surface.  Withdraw  and  set  aside  to  drain. 

Cedar  shingles  require  a  single,  moderately  slow  immersion.  Cypress, 
yellow  pine  or  other  resinous  woods  should  be  permitted  to  remain  in 
the  mixture  until  it  adheres  to  all  parts  of  the  grain. 

Stir  stain  frequently  while  dipping. 

Material:  Du  Pont  Shingle  Stain.  See  shades  in  supplement,  page  9. 

Amount  Required:  One  gallon  is  sufficient  to  dip  from  350  to  450  new 
shingles,  or  will  cover  from  200  to  300  sq.  ft.,  one  coat  by  brushing. 

Paint  on  Shingled  Surfaces 

Shingled  surfaces  may  be  painted  with  an  oil  paint,  although  it  is  not 
practicable  to  dip  new  shingles  in  such  a  finish.  For  either  new  or  old  shingles, 
the  first  coat  should  be  thinned  with  1^2  to  2  pints  turpentine  to  the 
gallon  of  paint.  Finishing  coat  should  be  applied  as  it  comes  in  the  package, 
after  thorough  stirring. 

Material:  Du  Pont  Prepared  Paint,  see  shades  in  supplement,  page  2. 
Spreading  Capacity:  This  varies  greatly  with  the  porosity  of  the  shingles. 
One  gallon  will  spread  an  average  of  200  to  300  sq.  ft.,  two  coats. 

Previously  Finished  Surfaces 

See  that  the  surface  is  dry  and  clean. 

Apply  freely  with  the  brush.  Do  not  attempt  to  cover  too  much  surface 
with  each  brushful. 

Allow  stain  to  penetrate  into  the  shingle. 

Keep  material  well  stirred  while  in  use. 

Material:  Du  Pont  Shingle  Stain, — see  shades  in  supplement,  page  9. 

Tin  Roofs 

See  Chapter  16,  “Exterior  Metal  Surfaces,"  page  105, 


GOOD  PAINT  COSTS  NOTHING 


PORCH  FLOORS  AND  STEPS 
New  Surfaces 

Requirements:  A  floor  paint  that  is — 

Resistant  to  hard  usage, 

Impervious  to  moisture, 

Unaffected  by  extremes  of  temperature  and  atmospheric 
conditions, 

Permanent  in  color. 

Application:  Stir  thoroughly. 

First  and  second  coats  to  be  applied  as  received  in  package.  If  too 
thick,  thin  with  a  little  pure  spirits  of  turpentine.  Brush  first  coat 
well  into  the  wood,  and  flow  second  coat  on  to  a  smooth,  even  finish. 
Allow  at  least  24  hours  for  drying  between  coats. 

Material:  Du  Pont  Floor  and  Deck  Paint.  See  shades  in  supplement. 

Previously  Finished  Surfaces 

Application :  See  that  the  surface  is  clean  and  dry. 

Stir  the  material  thoroughly,  and  brush  out  to  a  smooth,  even  finish. 

Material:  Du  Pont  Floor  and  Deck  Paint;  see  shades  in  supplement, 
page  8. 

Spreading  Capacity :  Approximately  300  to  350  sq.  ft .  per  gallon,  two  coats. 

FRAME  OFFICE  BUILDINGS 

Generally  located  close  to  industrial  plants;  subject  to  more  or  less 
contact  with  gas  or  acid  fumes,  dust,  dirt,  etc. 

Siding,  Roofs,  Porch  Floors  and  Steps 

Requirements,  application,  etc.,  similar  to  recommendation  for  Mill 
Villages,  pages  64  to  67. 

Window  Frames  and  Sash 

Requirements  and  application  same  as  above. 

Colors  are  generally  contrasting  to  body — see  recommendation  of  the 
manufacturer. 

Material:  Du  Pont  Prepared  Paint,  see  shades  in  supplement,  page  2. 

Fences,  Gates  and  Bridges 
Passage-Ways  and  Doors 

Requirements:  A  durable,  impervious  paint,  of  maximum  permanence 
of  color.  Darker  shades  generally  preferred. 


68 


PAINTING  IS  CHEAPER  THAN  REPLACEMENT 


New  and  Previously  Finished  Surfaces 

Application:  Use  same  material  as  recommended  for  Mill  Villages,  see 
page  64.  Follow  same  general  directions  for  use. 

Where  cost  is  a  consideration,  a  lower-priced  product  will  fre¬ 
quently  answer  the  purpose.  For  this,  Barn  Paints  are  recommended. 

Characteristics:  Composed  of  oxide  of  iron  and  certain  inert  materials, 
ground  in  linseed  oil  or  other  special  thinner. 

Application:  Stir  thoroughly. 

Thin  first  coat  with  two  parts  raw  linseed  oil  and  one  part  turpentine 
in  proportion  of  1  pint  to  134  pints  to  the  gallon  of  paint. 

Brush  thoroughly  into  the  wood. 

Allow  at  least  48  hours  for  thorough  drying  between  coats. 

Second,  or  finishing,  coat  should  be  applied  just  as  material  comes  in 
the  can  after  thorough  stirring.  If  thinning  is  necessary,  use  a  little 
pure  raw  linseed  oil. 

Material:  Du  Pont  Barn  and  Roof  Paint.  See  shades  in  supplement, 
page  9. 

Spreading  Capacity:  Approximately  250  to  300  sq.  ft.,  per  gallon,  two 
coats. 

Framework  of  Brick  or  Concrete  Buildings 

See  Frame  Office  Buildings,  page  68,  or  Fences  and  Gates,  etc.,  page  68. 


Tanks  and  Their  Supports 

The  contents  of  tanks  have  a  direct  bearing  upon  the  wearing  qualities 
of  the  paints  used  for  their  protection.  Tanks  containing  acids  cannot  be 
treated  the  same  as  water  or  oil  tanks. 

Under  ordinary  conditions,  the  same  procedure  should  be  followed  as 
that  recommended  for  Frame  Office  Buildings,  page  68,  or  Fences  and 
Gates,  page  68.  All  surfaces  must  be  perfectly  dry  before  the  paint  is 
applied.  Where  leakage  exists,  or  where  surfaces  are  saturated  with 
moisture,  it  is  not  practicable  to  apply  paint  of  any  kind. 

In  the  presence  of  acid  or  of  acid  fumes  an  acid-resisting  black  is  the 
proper  material  to  use.  This  is  so  composed  as  to  resist  these  extreme  con¬ 
ditions  to  a  remarkable  degree. 

Application:  Stir  material  thoroughly.  Apply  two  coats,  just  as  the 
material  comes  in  the  package.  Allow  at  least  48  hours  between  coats 
for  thorough  drying. 


69 


STANDARDIZE  YOUR  PAINT  PURCHASES 


Material:  Du  Pont  Acid-Resisting  Black. 

Spreading  Capacity:  Approximately  200  to  250  sq.  ft.,  per  gallon,  two 
coats. 

Where  cedar  is  used  for  tank  construction,  it  is  a  mistake  to  permit 
it  to  remain  unpainted,  under  the  impression  that  it  does  not  require 
paint  protection.  Use  either  the  material  recommended  for  Mill 
Villages,  page  64,  or  for  Fences  and  Gates,  page  68. 

The  same  material  may  be  used  on  the  steel  hoops  of  the  tank  as 
is  used  on  the  body. 

Telephone  and  Telegraph  Poles  and  Cross-Arms 

Requirements:  Similar  to  Fences  and  Gates,  etc.,  page  68.  A  special 
paint  is  made  for  these  surfaces  that  gives  desirable  results. 

New  Surfaces 

Application:  First  coat  to  be  thinned  with  two  parts  raw  linseed  oil  and 
one  part  turpentine,  in  the  proportion  of  a  pint  to  the  gallon  of  paint. 

Brush  thoroughly  into  the  surface. 

Allow  at  least  48  hours  for  drying. 

Apply  second  coat  as  the  material  comes  in  the  package  after 
thorough  stirring. 

Material:  Du  Pont  Pole  Paint,  made  in  three  shades — Green,  Black  and 
White. 

Spreading  Capacity:  One  gallon  will  cover  from  250  to  300  sq.  ft.,  two 
coats. 

Previously  Finished  Surfaces 

Application:  See  that  the  surface  is  clean  and  dry. 

Apply  one  coat  of  the  shade  selected,  brushing  it  well  into  the  sur¬ 
face,  after  thorough  stirring. 

Material:  Du  Pont  Pole  Paint. 

All  Other  Wood  Surfaces 

It  is  impossible  to  list  all  the  varied  wood  surfaces  encountered  and  give 
specific  instructions  for  the  painting  of  each.  The  foregoing,  however, 
should  be  sufficient  guidance  to  the  plant  superintendent,  so  that  all 
exterior  wood  surfaces  may  be  adequately  protected.  The  proper  products 
to  use  can  be  selected  from  those  previously  described,  depending  upon  the 
character  of  the  surface  in  question. 


70 


WHEN  DID  YOU  MAKE  THE  LAST  PAINT  INSPECTION? 


Chapter  14 

TREATMENT  OF  INTERIOR  WOOD  SURFACES 

The  methods  followed  in  interior  wood  finishing  depend  upon  the  charac¬ 
ter  of  the  surface  and  the  finish  desired.  In  some  eases  a  long-wearing, 
oil  paint  may  be  best;  in  others  a  penetrating  stain,  an  elastic  varnish 
or  a  combination  of  the  two;  a  flat  finish  or  a  highly  enameled  surface  may 
be  preferred.  Sufficient  guidance  should  be  found  in  this  chapter  to  meet 
practically  all  conditions  of  interior  industrial  wood  finishing. 

INTERIOR  FLOORS 

Floors  are  usually  subject  to  such  severe  conditions  that  their  permanent 
protection  is  always  more  or  less  of  a  serious  problem.  A  paint,  stain  or 
varnish  that  gives  good  service  on  general  interior  woodwork  may  fall 
down  completely  when  used  on  a  floor.  Such  finishes,  to  be  successful,  must 
be  made  especially  for  floor  use. 

Yellow  Pine  Floors— New  Surface 

This  is  the  general  type  of  flooring  found  in  most  mill  villages  as  well  as 
industrial  offices  and  throughout  the  plants  themselves.  They  may  be 
varnished,  waxed,  stained  and  varnished,  or  painted. 

Varnished  Finish 

Requirements;  A  floor  varnish  that — 

Is  extremely  tough  and  durable; 

Withstands  physical  contact  to  the  greatest  degree; 

Is  resistant  to  moisture  and  dampness; 

Will  not  turn  white; 

Will  not  showr  heel  marks  or  scratches. 

Application:  Refer  to  general  directions  covering  the  application  of 
varnish,  page  21. 

The  floor  must  be  perfectly  clean  and  free  from  dust  and  dirt. 

Fill  all  cracks  and  crevices  with  crack  filler,  working  it  in  with  a 
broad-bladed  putty  knife. 

The  first  coat  of  varnish  should  be  flowed  on  to  a  smooth,  even  film. 
Do  not  apply  too  heavily. 

Allow  at  least  24  hours  for  the  first  coat  to  thoroughly  dry. 

Before  applying  the  second  coat,  sand  the  entire  surface  with  00 
sandpaper  and  dust  carefully. 

Flow  on  the  second  coat  of  varnish  in  a  smooth,  even  film. 


71 


PAINTING  IS  AN  INVESTMENT,  NOT  AN  EXPENSE 


Allow  at  least  24  hours  for  drying,  sand  lightly,  and  apply  the  third 
coat  in  the  same  manner.  A  floor  so  finished  will  give  excellent  service. 

Do  not  use  shellac  as  a  “filler”  or  as  a  first  coat,  if  a  durable  varnish 
finish  is  desired,  except  where  specifically  directed.  When  shellac  dries, 
the  alcohol  evaporates  and  all  that  remains  is  the  hardened  gum.  This 
becomes  very  brittle,  and  after  the  coats  of  varnish  are  applied  is 
likely  to  chip  and  scale  off,  taking  the  varnish  coats  with  it. 

Crack  filler  is  a  putty-like  paste  made  especially  for  filling  cracks 
and  crevices  in  wood  surfaces,  prior  to  finishing  them.  It  does  not 
shrink  and  crumble.  It  makes  a  level,  even  surface  for  subsequent 
finishing.  Allow  at  least  24  hours  for  filler  to  harden.  When  dry  it 
has  the  same  color  as  new  yellow  pine. 

Material:  Du  Pont  Crack  Filler  and  Du  Pont  Supremis  Floor  Finish. 

Spreading  Capacity:  Du  Pont  Supremis  Floor  Finish — approximately 
250  to  300  sq.  ft.  per  gallon,  two  coats,  on  an  average  floor  surface. 

Wax  Finish 

Requirements:  The  wax  should — 

Be  of  a  soft  paste  consistency; 

Be  easily  spread; 

Polish  readily; 

Be  wear-resistant. 

Application:  The  surface  must  be  clean  and  free  from  dust. 

Apply  the  wax  to  the  surface  with  a  cloth.  Allow  to  remain  for  a 
few  minutes,  then  polish  by  rubbing  briskly  with  a  soft  cloth. 

For  large  surfaces,  use  a  weighted  floor-polishing  brush. 

If  a  more  durable  or  brilliant  finish  is  desired,  apply  a  second  coat 
in  the  same  manner. 

Material:  Du  Pont  Prepared  Wax. 

Spreading  Capacity:  One  pound  is  sufficient  to  give  a  waxed  finish  to 
200  to  300  sq.  ft.  of  varnished  surface. 

Stained  and  Subsequently  Varnished 

Requirements:  A  finish  that — 

Is  permanent  and  non-fading; 

Does  not  “raise”  the  grain  of  the  wood; 

Brings  out  the  high  lights  in  the  wrood; 

Affords  a  proper  foundation  for  succeeding  varnish  coats. 


72 


GOOD  LIGHTING  DOES  NOT  DEPEND  SOLELY  UPON  DIRECT  ILLUMINATION 


Either  an  “oil”  or  a  “penetrating”  stain  may  be  used.  An  oil 
stain  is  composed  of  pigment  and  liquid;  while  the  basis  of  a  penetrat¬ 
ing  stain  is  usually  an  aniline  dye.  Both  stains  penetrate  the  fibers  of 
the  wood,  and  the  longer  they  are  allowed  to  remain  on  the  surface, 
the  darker  the  finish  becomes. 

Application:  See  that  the  surface  is  clean  and  dry. 

Fill  all  cracks  and  crevices  with  Crack  Filler,  as  described  on  page  72. 

Stir  the  material  well. 

Apply  with  a  soft  bristle  brush,  and  work  it  well  into  the  wood. 

Allow  to  remain  on  the  surface  a  few  minutes,  then  with  a  soft  rag 
wipe  it  off  with  the  grain  of  the  wood— thus  removing  the  excess 
material,  at  the  same  time  working  the  stain  into  the  pores  of  the 
wood. 

Allow  24  hours  for  thorough  drying. 

If  the  shade,  when  dry,  is  not  dark  enough,  apply  a  second  coat  in 
the  same  manner. 

The  surface  may  now  be  varnished  or  waxed  as  described  on  page  72. 

If  a  mahogany  penetrating  stain  is  used  a  sealing  coat  of  Du  Pont 
Penetrating  Stain  Sealer  is  recommended,  after  the  stain  is  dry,  and 
before  the  varnish  is  applied.  This  will  prevent  the  dye  in  the  stain 
from  attacking  the  varnish  and  discoloring  it.  It  is  not  necessary  to 
use  this  when  other  shades  of  penetrating  stain  are  used. 

Material:  Du  Pont  Oil  Stain  or  Du  Pont  Penetrating  Stain.  See  colors 
in  supplement,  pages  5  and  7. 

Spreading  Capacity:  Du  Pont  Oil  Stain,  approximately  400  to  500  sq.  ft. 
per  gallon,  one  coat;  Du  Pont  Penetrating  Stain,  about  600  sq.  ft.,  one 
coat,  depending  upon  the  intensity  of  shade  desired  and  the  condition 
of  the  surface. 

Where  cost  is  a  consideration,  an  attractive  and  durable  finish  may 
be  obtained  by  using  a  stain  and  varnish  combined  in  one  product. 

Stain  and  Varnish  Combined 

Requirements:  A  finish  that — 

Is  made  especially  for  floor  use; 

Is  extremely  resistant  to  abrasion  and  hard  wear; 

Is  elastic  and  durable; 

Is  permanent  and  non-fading; 

Dries  with  a  rich  gloss. 


73 


WHAT  IS  THE  EIGHT-REFLECTING  VALUE  OF  YOUR  WALLS  AND  CEILINGS  ? 


Application:  See  that  the  surface  is  clean  and  dry. 

Fill  all  cracks  and  crevices  with  Crack  Filler,  as  directed  on  page  72. 

Stir  contents  thoroughly,  so  that  no  pigment  remains  in  the  bottom 
of  the  can. 

Apply  with  a  flat  varnish  brush,  working  first  coat  well  into  the 
wood. 

Allow  24  hours  for  drying. 

Sand  surface  lightly  with  00  sandpaper,  dust  carefully,  and  apply 
second  coat,  flowing  it  on  to  a  smooth,  even  finish. 

If  the  color  of  the  stain  is  sufficiently  deep,  after  first  coat  is  dry, 
use  a  clear  Floor  Varnish  for  finishing  coat. 

Material:  Du  Pont  Tufcote  Varnish  Stain.  See  colors  in  supplement, 
page  5. 

Spreading  Capacity:  Approximately  250  to  300  sq.  ft.  of  new  flooring, 
two  coats,  per  gallon. 

Painted  Floors 

Requirements:  A  paint  that — 

Is  made  especially  for  floor  use.  (All  successful  floor  paints  are 
made  with  a  varnish  vehicle.  This  is  necessary  in  order  to  offer 
maximum  resistance  to  abrasion.  An  ordinary  linseed  oil  paint,  while 
giving  good  service  for  general  exterior  or  interior  painting,  will  not 
wear  on  floor  surfaces,  because  the  coat  is  too  soft.  A  floor  paint  must 
dry  with  an  extremely  elastic,  durable  surface;  necessitating  the  use 
of  a  floor  varnish  as  a  base.) 

Is  extremely  tough  and  durable; 

Offers  maximum  resistance  to  moisture; 

Will  not  show  heel  marks  and  scratches; 

Dries  with  a  smooth,  rich  gloss. 

Application:  See  that  the  surface  to  be  finished  is  clean  and  dry. 

Fill  all  cracks  and  crevices  with  Crack  Filler,  as  described  on  page  72. 

Stir  contents  of  can  thoroughly. 

Brush  well  into  the  wood. 

Allow  at  least  24  hours  to  dry. 

Flow  second  or  finishing  coat  on  to  a  smooth,  even  surface. 

For  an  extremely  durable  finish,  follow  second  coat,  when  dry,  with 
a  durable  Floor  Varnish. 

Material:  Du  Pont  Floor  and  Deck  Paint.  See  colors  in  supplement, 
page  8. 


74 


BETTER  LIGHTING  INCREASES  PRODUCTION  FROM  6  TO  12% 


Spreading  Capacity:  Approximately  250  to  300  sq.  ft.,  per  gallon,  two 
coats. 

Note:  It  must  be  remembered  that  the  use  of  a  floor  paint  will  completely 
cover  the  grain  of  the  wood.  This  should  be  borne  in  mind  when 
considering  the  character  of  finish  desired. 

Maple  Floors— New  Surface 

Maple  is  a  hard  wood,  and  penetration  will  not  be  as  deep  as  on  Yellow 
Pine.  It  will,  therefore,  require  slightly  longer  for  the  finish  to  dry.  Where 
an  oil  or  penetrating  stain  is  used,  it  will  not  show  as  dark  a  finish  on  maple 
as  on  a  softer  wood.  In  all  cases,  however,  the  method  of  treatment  is  the 
same  as  that  described  for  Yellow  Pine. 

Hardwood  or  Parquet  Floors 

The  general  mode  of  treatment  is  the  same  as  that  prescribed  for  Yellow 
Pine  floors. 

If  oak  or  other  open-grained  woods  are  used,  they  will  require  the  applica¬ 
tion  of  a  Paste  Wood  Filler  to  make  them  ready  for  finishing. 

Requirements:  A  paste  wood  filler  should — 

Be  smooth  and  free  from  lumps; 

Be  readily  prepared  for  use: 

Fill  the  pores  of  the  wood  perfectly  and  not  shrink  when  dry. 

Application:  See  that  the  surface  to  be  filled  is  clean  and  free  from  dust 
and  dirt. 

Thin  the  Filler  with  turpentine  or  benzine  to  the  consistency  of 
thin  varnish  and  apply  with  a  brush.  In  five  or  ten  minutes  the  Filler 
will  have  “set”  or  become  flat. 

Then  with  a  cloth,  or  wad  of  tow,  rub  Filler  across  the  grain,  packing 
it  into  the  pores,  finally  wiping  the  surface  clean  from  the  wood. 

Apply  no  more  Filler  at  one  time  than  can  be  wiped  off  as  soon  as 
it  has  set. 

Allow  the  Filler  to  dry  at  least  24  hours. 

The  surface  can  then  be  finished  in  the  usual  manner. 

Note:  If  the  surface  is  to  be  stained,  apply  the  Filler  after  the  stain 
has  dried.  If  the  Filler  is  used  before  the  stain  is  applied,  it  will  fill 
the  pores  of  the  wood  and  prevent  the  stain  from  penetrating.  The 
Filler  should  be  used,  however,  before  any  varnishing  is  done. 

Should  the  Filler  wipe  off  too  hard,  dry  too  fast  or  show  too  light 
in  the  pores,  add  a  very  small  amount  of  raw  linseed  oil. 


75 


DAYLIGHT  IS  THE  CHEAPEST  LIGHT 


Material :  Du  Pont  Wheeler’s  Paste  Wood  Filler.  It  [is  made  in  a  number 
of  colors,  but  the  Transparent  Filler  may  be  tinted  with  Oil  Colors  to 
produce  the  exact  shade  desired. 

Spreading  Capacity:  Owing  to  the  wide  variety  of  surface  conditions,  it 
is  not  practicable  to  state  definitely  the  quantity  of  Filler  needed  for  a 
given  surface. 


Floors  Previously  Finished 

To  be  Revarnished :  It  is  frequently  necessary  to  refinish  the  portion  of 
the  floor  where  the  tread  of  feet  and  abrasion  have  worn  down  the 
varnish  coat,  while  the  remainder  of  the  floor  may  be  in  good  condition. 

Application:  The  floor  should  first  be  scrubbed  and  allowed  to  dry. 
Sandpaper  the  surface  to  be  finished  with  00  sandpaper,  and  dust 
carefully. 

Apply  a  coat  of  the  Floor  Varnish,  flowing  it  on  to  a  smooth,  even 
finish. 

In  most  instances,  but  one  coat  is  necessary. 

In  extreme  cases,  or  where  the  abrasion  of  the  surface  has  been 
unusually  severe,  two  coats  may  be  required,  sanding  first  coat  lightly 
when  dry. 

If  the  entire  floor  surface  is  to  be  revarnished,  follow  the  same 
general  directions. 

Note :  It  is  not  practicable  to  revarnish  a  floor  that  has  been  waxed,  unless 
the  wax  is  removed  with  either  benzine  or  gasoline.  After  this  is  done 
the  surface  should  be  washed  with  clean  warm  water,  containing  a 
small  amount  of  ammonia. 

Also  bear  in  mind  that  if  varnish  is  applied  over  a  surface  that  has 
been  cleaned  with  a  non-drying  oil,  it  will  remain  tacky  indefinitely. 
The  oil  should  be  entirely  removed  by  washing  with  benzine  or  gasoline. 

To  be  Rewaxed:  A  new  coat  of  wax  can  be  applied  over  a  former  coat. 
The  surface  should  first  be  free  from  all  dust  and  dirt. 

Apply  the  Floor  Wax  in  the  same  manner  as  directed  on  page  72. 

To  be  Refinished,  Where  a  Stain  and  Varnish  Have  Been  Used, 
Either  Separately  or  Combined:  If  the  entire  finish  has  been 
worn  through  to  the  floor,  it  is  not  practicable  to  touch  up  such  spots 
only  and  allow  the  remainder  of  the  floor  to  stay  in  its  original  con¬ 
dition.  For  a  uniform  finish  it  will  be  necessary  to  refinish  the  entire 
floor.  There  are  two  methods  that  may  be  followed : 


76 


CHEAP  PAINT  COSTS  TOO  MUCH  TO  USE 


First  Method :  With  the  use  of  a  good  Paint  and  Varnish  Remover,  take 
off  the  present  finish  entirely. 

Requirements:  A  remover  to  be  efficient  should — 

Not  raise  the  grain  of  the  wood; 

Not  discolor  the  wood; 

Not  prevent  drying  of  subsequent  coats  of  paint  or  varnish; 

Not  injure  hands  or  eyes; 

Not  have  an  offensive  odor. 

Application:  See  that  the  surface  is  clean  and  free  from  dust  and  dirt. 

Shake  the  can  well  before  using. 

Apply  a  flowing  coat  with  a  flat  varnish  brush.  x4fter  allowing  it 
to  remain  on  the  surface  for  a  few  minutes,  the  paint  or  varnish  coating 
will  become  soft.  It  should  then  be  scraped  off  with  a  broad-bladed 
putty  knife. 

Clean  the  surface  with  benzine. 

When  perfectly  dry,  the  surface  is  ready  to  be  refinished  the  same 
as  for  new  wood. 

Material:  Du  Pont  Paint  and  Varnish  Solvent. 

Second  Method :  This  entails  the  use  of  a  ground  coat,  applied  over  the 
old  finish,  especially  where  desirous  of  changing  from  a  dark  to  a 
lighter  effect. 

Requirements:  A  good  ground  coat — 

Dries  flat; 

Covers  the  surface  completely; 

Becomes  a  perfect  foundation  for  subsequent  finishing  coats. 

Application:  See  that  the  surface  is  clean  and  free  from  dust  and  dirt. 

If  the  surface  carries  a  high  gloss,  sandpaper  sufficiently  to  remove 
a  portion  of  the  gloss  before  applying  the  ground  coat. 

Stir  contents  until  of  uniform  consistency. 

Apply  with  a  flat  varnish  brush. 

Allow  at  least  24  hours  for  thorough  drying. 

If  the  surface  to  be  obliterated  is  dark,  two  coats  may  be  required; 
otherwise,  the  surface  is  now  ready  for  finishing.  The  grain  of  the 
wood  will  be  entirely  covered  up  by  this  method. 

When  the  ground  coat  is  thoroughly  dry,  it  should  be  given  a  coat 
of  a  graining  compound.  Immediately  upon  application,  the  natural 
grain  of  the  wood  should  be  imitated  with  the  use  of  a  graining  roller 
and  comb.  When  dry,  the  surface  may  be  finished  with  a  stain  and 
varnish  or  a  varnish  alone,  if  the  resultant  shade  is  satisfactory. 


77 


TIME  IS  THE  ONLY  TEST  OF  THE  QUALITY  OF  PAINT  AND  VARNISH 


Material:  Du  Pont  Graining  Ground  as  a  ground  coat. 

Du  Pont  Graining  Compound,  followed  by  Du  Pont  Tufcote  or 
Du  Pont  Supremis  Floor  Varnish. 

Spreading  Capacity:  Du  Pont  Graining  Ground,  approximately  400  sq. 
feet  per  gallon,  one  coat. 

Du  Pont  Graining  Compound,  approximately  500  sq.  feet  per 
gallon,  one  coat. 

To  be  Repainted :  See  that  the  surface  is  clean  and  free  from  dust  and 
dirt,  grease,  oil,  etc. 

Sandpaper  glossy  portions  sufficiently  to  “roughen  up”  the  surface 
and  make  the  proper  “tooth”  for  the  new  finish  to  properly  adhere. 

Apply  a  coat  of  Floor  Paint,  after  thorough  stirring,  flowing  it  on 
to  a  smooth,  even  finish.  Generally,  but  one  coat  is  required  for  a 
satisfactory  finish. 

Material:  Du  Pont  Floor  and  Deck  Paint, — see  shades  in  supplement, 
page  8. 

Linoleum-Covered  Floors 

Many  business  offices  today  use  linoleum,  either  plain  or  in  an  attractive 
pattern,  as  a  floor  covering.  This  is  a  very  durable  floor  in  many  respects. 
Linoleum,  however,  becomes  dry  with  age  and  develops  a  tendency  to 
crack,  a  propensity  which  increases  with  successive  washings.  Unless  pro¬ 
tected,  the  hard  wear  to  which  such  a  surface  is  subjected  will  in  time 
shorten  the  life  of  the  floor  covering. 

The  best  protection  to  give  a  linoleum-covered  floor,  whether  plain  or 
figured,  is  the  application  of  two  coats  of  a  durable  floor  varnish,  allowing 
at  least  48  hours  between  coats  for  thorough  drying.  Severe  tests  of  lino¬ 
leum  finished  in  this  manner  have  shown  no  failure  of  pattern,  color  change, 
darkening,  spotting  or  similar  defects.  The  varnish  should  be  applied 
immediately  after  laying,  or  at  least  as  soon  as  the  linoleum  has  stretched 
to  permanent  form  on  the  floor.  Follow  directions  for  the  application  of 
the  varnish  as  given  on  page  21. 

Material:  Du  Pont  Supremis  Floor  Varnish. 

Spreading  Capacity:  Approximately  250  to  300  square  feet  per  gallon, 
two  coats. 

The  application  of  wax  directly  to  the  linoleum  surface  is  not  recom¬ 
mended  for  the  reason  that  such  compounds  have  a  softening  effect 
upon  the  linoleum,  and  dirt  is  easily  ground  into  the  softened  surface.  If 
wax  is  used  to  give  the  “dull”  finish,  it  should  be  applied  as  directed  on 
page  72,  over  the  floor  varnish.  The  varnish  produces  a  proper  foundation 
for  good  results  in  waxing. 

Material:  Du  Pont  Prepared  Wax. 


78 


GOOD  PAINT  AND  VARNISH  HOLDS  DOWN  UPKEEP  COST 


Spreading  Capacity:  One  pound  is  sufficient  to  give  a  waxed  finish  to 
200  to  300  square  feet  of  varnished  surface. 

Oil  Dressing  for  Floors 

It  is  not  good  practice  to  use  an  oil  dressing  on  floors.  These  oils  are 
usually  of  a  non-drying  character,  so  that  when  once  used,  it  is  practically 
impossible  to  apply  a  finish  over  them  with  any  assurance  of  proper  drying. 
The  pores  of  the  wood  become  saturated  with  oil  and  it  is  next  to  impossible 
to  remove  it. 


Cement  or  Concrete  Floors 

(See  page  147  under  the  subject  of  Interior  Concrete  and  Cement 
Surfaces.) 

INTERIOR  WALLS  AND  CEILINGS 

Wood  is  used  but  little  for  interior  walls  and  ceilings  in  modern  building 
construction.  Such  surfaces  are  generally  composed  of  plaster,  cement, 
concrete  or  metal.  Wood  is  used  only  for  doors,  door  frames,  chair  rails, 
picture  moulding,  etc.  In  buildings  erected  years  ago,  however,  wood  has 
been  used  to  a  considerable  extent  for  wall  and  ceiling  work,  and  this 
chapter  is  designed  to  cover  the  proper  treatment  of  such  surfaces  in 
factories,  mill  villages  and  offices. 

The  modern  method  of  treating  interior  walls  and  ceilings  with  light- 
reflecting  finishes  has  been  deemed  of  sufficient  importance  to  devote  an 
entire  chapter  to  the  subject.  Refer  to  Chapter  21,  page  149,  entitled, 
“Light-Reflecting  Finishes  for  Interior  Walls  and  Ceilings.” 


Wood  Walls  and  Ceilings 

Interior  wood  walls  and  ceilings  may  be  finished  by  a  number  of  other 
methods,  as  follows: 

Varnished, 

Stained  and  varnished, 

Finished  with  a  gloss  paint, 

Finished  with  a  flat  paint, 

Enameled. 

Varnished  or  Stained  and  Varnished 

If  a  varnished  or  a  stained  and  varnished  finish  is  desired,  follow  instruc¬ 
tions  given  on  page  72  covering  the  treatment  of  Floors,  with  the  excep¬ 
tion  of  the  character  of  the  varnish  used,  which  may  be  different.  A  good 


79 


LET  THE  PAINT  MANUFACTURER  SOLVE  YOUR  PAINT  PROBLEMS 


floor  varnish  will  give  excellent  results  on  general  interior  woodwork;  but  a 
varnish  made  particularly  for  the  purpose  is  recommended. 

Requirements:  Such  a  varnish  is — 

Extremely  durable; 

Light  in  color; 

Of  fine  body  and  luster; 

Unaffected  by  moisture  or  dampness; 

Elastic  and  does  not  crack. 

Drying  Time:  This  varnish  should  dry  dust-free  in  four  hours,  and  may 
be  rubbed  and  polished  after  48  hours. 

Spreading  Capacity:  Approximately  500  sq.  ft.  per  gallon,  one  coat. 

Material:  Du  Pont  Shipoleum  Interior  Finish. 

Finished  With  a  Gloss  Paint 

Requirements :  A  paint  that — 

Dries  with  a  rich,  oil  gloss; 

Is  tough  and  elastic  and  will  not  crack; 

Is  durable  and  may  be  washed  without  injury. 

Application:  See  that  the  surface  is  clean  and  free  from  dust  and  dirt. 
Read  Chapters  11  and  12  on  “Preparation  of  the  Surface”  and 
“General  Methods  of  Application,”  pages  57  and  59. 

Apply  two  or  three  coats,  as  may  be  desired,  following  same  instruc¬ 
tions  for  thinning  and  application  as  given  on  page  63  under  “Exterior 
Wood  Surfaces,”  for  either  new  or  previously  painted  surfaces. 

Material:  Du  Pont  Prepared  Paint.  See  shades  in  supplement,  page  2. 

Spreading  Capacity :  Approximately  350  to400  sq.  ft.,pergallon,twocoats. 

Where  conditions  are  unusually  severe,  and  where  smoke  and  gases  are 
prevalent,  the  average  oil  paint  will  soon  discolor,  chip  and  lose  its  useful¬ 
ness.  Interior  woodwork  under  these  circumstances  should  be  finished 
with  a  product  that  will  show  the  least  effect  from  such  contact  and  still 
protect  the  surfaces  from  decay.  For  this  purpose,  Du  Pont  Antoxide  of 
the  shade  selected,  applied  as  directed  on  page  114,  is  recommended. 

Finished  With  a  Flat  Paint 

Requirements :  A  paint  that — 

Dries  with  a  dead-flat,  smooth  finish; 

Can  be  washed  without  injury; 

Is  made  in  attractive  colors; 

Is  easily  prepared  for  use  and  readily  applied. 

80 


A  PAINT  FILM  IS  ONLY  1/500TH  OF  AN  INCH  IN  THICKNESS 


Application:  Refer  to  Chapters  11  and  12,  “Preparation  of  the  Surface,” 
and  “General  Methods  of  Application.” 

See  that  the  surface  is  clean  and  free  from  dust  and  dirt. 

Old  painted  surfaces  should  be  washed  to  remove  grease,  dirt,  etc. 
Loose  or  scaling  paint  must  be  scraped  off. 

Shellac  all  knots  and  sappy  streaks  on  new  woodwork. 

For  one-coat  work,  apply  the  material  just  as  it  comes  in  the  can, 
after  thorough  stirring. 

Use  a  4"  or  6"  wall  brush. 

Flow  the  finish  on  with  as  little  brushing  as  possible. 

New  wood  surfaces  usually  require  at  least  two  coats  for  a  proper 
finish. 

The  first  coat  should  be  thinned  either  with  turpentine  or  with  the 
special  thinner  recommended  by  the  manufacturer,  in  the  proportion 
of  a  pint  to  a  quart  per  gallon. 

The  second  coat  should  be  applied  just  as  it  comes  in  the  package, 
after  thorough  stirring. 

If  thinning  is  required,  pure  turpentine  only  should  be  used. 

Material:  Du  Pont  Flat  Wall  Paint,  see  colors  in  supplement,  page  4. 

Du  Pont  Elastic  Wall  Primer  is  recommended  for  thinning  for  first- 
coat  work. 

Spreading  Capacity:  Approximately  500  to  600  square  feet  per  gallon, 
one  coat,  depending  upon  the  condition  of  the  surface. 


Finished  With  Enamel.  Priming  or  Undercoat 

Requirements:  A  proper  foundation  built  up  with  the  necessary  number 
of  priming  coats,  in  order  to  make  a  smooth,  even  surface  for  enamel¬ 
ing.  For  either  a  white  or  a  tinted  enamel  finish,  the  primer  should — 
Be  finely  ground  and  free  from  specks  or  coarse  particles; 

Dry  with  a  snow-white,  smooth,  even  finish; 

Make  a  perfect  surface  for  enameling. 

Application  of  Undercoat:  See  that  the  surface  is  clean  and  free  from 
dust  and  dirt. 

For  first  coat  on  non-resinous  woods — white  pine,  poplar,  etc — add 
from  a  pint  to  a  quart  of  raw  linseed  oil  to  the  gallon  of  paint.  For 
resinous  or  sappy  woods — yellow  pine,  cypress  or  fir — -use  turpentine 
instead  of  linseed  oil. 

On  previously  finished  surfaces  and  for  second-coat  work,  it  should 
be  applied  just  as  received  in  the  can,  after  thorough  stirring. 


81 


WHY  EXPERIMENT  WITH  UNKNOWN  BRANDS  ? 


If  too  thick,  thin  with  a  little  pure  turpentine  only. 

Allow  at  least  48  hours  for  the  first  coat  to  dry;  sand  lightly  before 
applying  second  coat. 

Note:  Any  imperfections  in  the  surface  to  be  enameled  will  show  in  the 
finished  work,  unless  taken  care  of  in  the  priming  coats.  Sufficient 
coats  of  undercoat  should  be  applied  so  that  the  finishing  coats  of 
enamel  will  be  smooth  and  even. 

Material:  Du  Pont  Enamel  Undercoat  (White). 

Spreading  Capacity:  Approximately  500  sq.  ft.  per  gallon,  one  coat. 

Enamel  Coats 

Requirements:  These  depend  upon  the  character  of  finish  desired.  For 
a  high-class  white  enamel  finish,  the  product  should — 

Be  finely  ground  and  free  from  specks  or  coarse  particles; 

Flow  out  to  a  smooth,  porcelain-like  finish; 

Be  a  white  that  stays  white. 

Application:  When  the  foundation  has  been  prepared  with  the  necessary 
number  of  priming  coats,  the  Enamel  should  be  flowed  on  to  a  smooth, 
even  finish,  using  a  soft  hair  brush. 

Do  not  brush  out  too  much :  Enamel  should  be  flowed  on  and  not 
brushed  in. 

Allow  at  least  48  hours  for  thorough  drying,  and  rub  down  lightly 
with  00  sandpaper. 

Dust  carefully  and  apply  the  second  coat,  flowing  it  on  to  a  smooth, 
even  finish. 

Material:  Du  Pont  Flow-Kote  Enamel,  the  highest  type  enamel  for  the 
purpose,  made  in :  # 

Gloss  White  (can  be  rubbed  if  desired) 

Rubbed  Finish  White 

Gloss  Ivory  (can  be  rubbed  if  desired) 

Rubbed  Finish  Ivory 

The  Rubbed  Finishes  dry  with  a  hand-rubbed  effect. 

Spreading  Capacity:  Approximately  600  square  feet  per  gallon,  one  coat. 

If  a  less  expensive  finish  is  required,  Du  Pont  Interior  Decorative  Enamel 

or  Du  Pont  Sanitary  Gloss  Enamel  will  give  a  beautiful,  durable,  glossy, 

white  surface.  They  have  approximately  the  same  spreading  capacity  as 

Flow-Kote. 


82 


PROPER  PREPARATION  OF  THE  SURFACE  IS  ESSENTIAL  FOR  GOOD  RESULTS 


Finish  for  Dados 

In  walls  of  offices,  factories,  etc.,  it  is  frequently  desired  to  use  on  the 
lower  wall  a  high-gloss,  colored  finish,  of  extreme  durability. 

For  this  purpose  a  Dado  Enamel  is  recommended. 

Requirements:  A  harmonious  contrast  with  the  remainder  of  the  wall 
surface; 

A  finish  that  works  freely  under  the  brush  or  which  may  be  sprayed, 
if  desired; 

That  hides  solidly  with  one  coat; 

That  dries  to  a  tough,  elastic  film  that  will  not  mar  or  abrade  easily; 

That  may  be  washed  frequently,  without  loss  of  gloss  or  color; 

That  keeps  well  in  the  package,  and  remains  in  suspension  when 
thoroughly  stirred; 

That  dries  free  from  tack  in  2  hours  and  hard  overnight. 

Application:  See  that  the  surface  is  clean  and  free  from  dust  and  dirt. 

If  the  surface  has  been  previously  painted  and  is  in  fair  condition, 
one  coat  only,  applied  as  received  in  the  package,  after  thorough  stir¬ 
ring,  will  be  required. 

If  a  light  shade  is  used  over  a  dark  surface,  two  coats  may  be 
necessary. 

Allow  at  least  24  hours  for  thorough  drying,  sand  lightly,  dust  and 
apply  the  second  coat,  just  as  received  in  the  package,  after  thorough 
stirring. 

Material:  Du  Pont  Dado  Enamels,  see  shades  in  supplement,  page  8. 
Spreading  Capacity:  Approximately  500  square  feet,  per  gallon,  one  coat. 

Office  Partitions 

These  may  be  painted  with  a  flat  or  a  gloss  paint,  or  may  be  stained  and 
varnished,  as  referred  to  under  “Wood  Walls  and  Ceilings,”  page  79.  If 
constructed  of  open-grained  wood,  like  oak,  the  use  of  a  Paste  Wood 
Filler  will  be  required,  as  referred  to  on  page  75  under  “Interior  Floors.” 


Doors,  Door  Frames,  Picture  Moulding, 
Wainscoting,  etc. 

These  surfaces  may  be  finished  with  any  of  the  products  referred  to  under 
“Wrood  Walls  and  Ceilings,”  page  79.  It  is  a  general  practice  to  use  a 
contrasting,  though  harmonious  treatment,  except  where  the  woodwork 
is  stained  and  varnished,  in  which  case  these  surfaces  may  be  finished  in  the 
same  manner. 


don’t  do  exterior  painting  in  wet  weather 


Interior  doors  in  factories  should  be  finished  with  colors  that  will  show 
the  least  dirt.  Where  an  oil  paint  is  used,  black  or  other  dark  color  should 
be  applied  to  the  surface  adjacent  to  the  knob  or  latch,  a  space  sufficiently 
large  to  cover  the  surface  coming  in  contact  with  the  hand.  This  color 
will  not  show  grease  and  dirt,  and  will  preserve  the  appearance  of  the  door. 
Similar  treatment  should  also  be  given  to  the  bottom  of  the  door,  where 
it  is  liable  to  hard  knocks  or  abrasive  influences.  Further  information  on 
this  subject  is  given  in  Chapter  22,  page  165,  under  Plant  Standardization 
Systems.” 

Girders,  Beams  and  Pillars 

It  is  a  mistake  to  permit  such  surfaces  to  remain  unpainted.  Extremes 
of  temperature,  moisture  and  dampness,  leakage,  etc.,  have  a  very  detri¬ 
mental  effect  upon  the  strength  of  these  supports.  Serious  cracking  occurs 
and  frequently  dry  rot  weakens  the  structure.  Generally,  such  surfaces 
should  be  finished  with  an  oil  paint,  as  recommended  under  “Wood  Walls 
and  Ceilings,”  page  80.  They  may  also  be  finished  with  Mill 
White;  see  Chapter  21,  page  149,  regarding  the  use  of  this  material.  The 
bottom  part  of  pillars a  space  about  4'  or  5'  in  height,  should  be  finished 
with  Dado  Enamel— see  page  83.  This  not  only  adds  to  their 
appearance,  but  places  a  protective  coat  of  a  durable  material  between 
them  and  the  physical  contact  to  which  they  may  be  subjected.  See 
“Plant  Standardization  Systems,”  page  165,  for  further  information. 

Elevators,  Gates  and  Shafts 

Such  surfaces  are  exposed  to  severe  use  and  unusual  abrasive  influences. 
A  durable  oil  paint  is  the  best  protection  that  can  be  given  them.  Elevator 
gates  should  be  painted  a  bright  color,  to  make  them  conspicuous.  Other 
parts  of  these  surfaces  should  be  given  a  dark,  durable  finish,  such  as  gray, 
brown,  green,  etc.  Further  information  on  this  subject  is  given  on  page 
165  under  “Plant  Standardization  Systems.” 

Material:  Du  Pont  Prepared  Paint.  See  colors  in  supplement,  page  2. 

Wood  Parts  of  Machinery  and  Machinery 

Equipment 

Usually  these  surfaces  are  given  severe  use.  Manufacturing  processes 
quickly  wear  away  protective  coatings.  Frequent  application  of  a  durable 
prepared  paint  is  the  best  method  to  follow.  Confine  the  shades  to  the 
darker  tones  of  grays,  browns,  greens  and  the  like.  Follow  directions  for 
application,  as  given  on  page  80. 

Material:  Du  Pont  Prepared  Paint.  See  shades  in  supplement,  page  2. 

84 


BE  SURE  THE  SURFACE  IS  DRY  BEFORE  APPLYING  THE  PAINT 


Racks  and  Bins 

Keeping  these  surfaces  painted  not  only  adds  to  their  appearance,  but 
increases  their  usefulness.  It  prevents  soiling  to  a  considerable  extent; 
prevents  the  accumulation  of  grease  and  dirt;  makes  the  contents  more 
conspicuous  and  easier  to  see.  This  is  particularly  true  if  the  lighter  shades 
of  paint  are  used,  such  as  gray,  ivory,  etc. 

Material;  Du  Pont  Prepared  Paint,  applied  as  directed  on  page  80,  is 
recommended  for  this  purpose.  See  shades  in  supplement,  page  2. 

All  Other  Wood  Surfaces 

In  general,  the  foregoing  instructions  for  the  treatment  of  interior  wood 
surfaces  should  be  of  sufficient  guidance  in  the  decoration  and  preservation 
of  practically  all  types  encountered. 


85 


ALLOW  AMPLE  TIME  FOR  THOROUGH  DRYING  BETWEEN  COATS 


Chapter  15 


PAINTING  AND  PRESERVATION 
OF  METAL  SURFACES 


If  natural  agencies  are  allowed  to  act,  the 
decay  of  iron  and  steel  by  corrosion  is  much 
more  rapid  than  that  of  wood  and  other 
materials  of  construction.  Steel  is  being 
used  more  and  more  every  day  for  build¬ 
ing  construction  and  general  industrial 
use.  The  life  of  such  work  depends  on  the 
prevention  of  decay  and  deterioration, 
usually  present  in  the  shape  of  rust. 

“How  much  of  the  enormous  and  constantly 
increasing  world’s  production  of  iron  and  steel 
is  wasted  for  lack  of  adecpiate  preservation? 
Where  will  the  growth  of  demand  stop,  and  how 
many  years  will  the  world’s  ore  supply  stand  the 
drain  upon  it?  These  are  questions  of  vast  im¬ 
portance,  the  answers  to  which  can  only  be 
vaguely  guessed.  One  thing  seems  certain, 
namely  that  civilization  must  learn  to  conserve 
more  efficiently  its  stores  of  iron  and  steel 
already  manufactured,  and  seek  methods  to 
prevent  the  almost  resistless  tendency  of  iron 
to  return  to  its  lethargic  union  with  oxygen.” 

“Corrosion  of  Iron  and  Steel ” 

— Cushman  and  Gardner. 


Costliness  of  Corrosion 

“At  a  meeting  of  the  Royal  Society,  Sir 
Robert  Hadfield  reached  the  astounding  esti¬ 
mate  that  the  total  sum  spent  annually  to 
counteract  the  ravages  of  corrosion  is  probably 
well  over  500  million  pounds  or  $2,500,000,000 
per  year.  Whether  this  figure  is  correct  or  not 
is  of  small  moment;  but  it  gives  us  some  idea 
of  the  price  which  the  world  is  paying  because 
of  the  slow  decay  of  metals,  and  brings  before 
us  the  fact  that  unless  corrosion  is  checked,  the 
known  iron-ore  resources  of  the  world  must  be 
exhausted  within  a  measurable  distance  of 
time.” 

“Engineering  and  Contracting.'’ 


Three  Photomicrographs  of 
Corroding  Steel 


87 


don't  do  exterior  painting  in  wet  weather 


Causes  of  Corrosion 

Rusting  of  metal  surfaces  in  varied  degrees  of  progress  is  the  first  evidence 
of  the  presence  of  corrosion. 

“Iron  will  not  corrode  in  air  unless  moisture  is  present  and  it  will  not 
corrode  in  water  unless  air  is  present.  The  agents  present  in  the  air  which 
accelerate  rusting,  especially  in  air  near  cities  where  much  fuel  is  consumed, 
are  numerous;  but  sulphur  "dioxide  and  soot  are  probably  the  most  destruc¬ 
tive,  because  together  in  the  presence  of  moisture,  they  conspire  to  produce 
sulphuric  acid.’’  “ Protection  of  Metal  Surfaces.” — Frederick  H.  Fay. 

The  most  generally -accepted  theory  of  the  cause  of  corrosion  is  known 
as  the  “Electrolytic  Theory.” 

“  ‘Auto-electrolysis’  is  the  term  used  to  define  the  peculiar  tendency  of 
iron  to  be  transformed  from  a  metal  possessing  a  hard,  lustrous  surface, 
high  tensile  strength  and  other  useful  properties,  to  a  crumbling  oxide  that 
falls  to  the  ground. 

“When  iron  is  brought  into  contact  with  moisture,  currents  of  electricity 
flow  over  the  surface  of  the  iron  between  points  that  are  relatively  pure  and 
points  that  contain  impurities.  These  currents  stimulate  the  natural  tend¬ 
ency  of  the  iron  to  go  into  solution,  and  the  solution  proceeds  with  vigor  at 
the  positive  points.  The  air  which  the  water  contains  oxidizes  the  iron 
which  has  gone  into  solution,  and  precipitates  the  familiar  brown  iron  rust. 

Thus  water,  which  acts  as  an  acid,  and  air,  which  acts  as  an  oxidizer,  have 
combined  together  to  accomplish  the  downfall  of  the  metal.” 

“ Paint  Technology  and  Tests.” — H.  A.  Gardner. 

Escaping  electric  currents  from  high-potential  light  and  power  circuits 
seem  to  be  another  cause  of  serious  corrosion  of  steel  structures.  This  is 
shown  in  an  examination  of  the  condition  of  steel  used  in  supporting  such 
lines,  which,  even  beneath  an  apparently  good  paint  coat,  may  show  cor¬ 
rosion  in  an  astonishing  degree. 

Prevention  of  Corrosion 

If  a  protective  coating  can  be  applied  that  will  keep  out  water  in  every 
form,  and  if  means  could  be  devised  to  make  the  metal  resistant  to  the  flow 
of  surface  electric  currents,  there  would  be  no  corrosion.  There  are  three 
sources  from  which  water  may  come:  first,  from  rainfall;  second,  from 
condensation  of  moisture  from  the  atmosphere;  third,  from  direct  contact 
wdth  water  in  manufacturing  processes.  Water  may  also  be  present  in  the 
oil  in  the  paint  coating  or  absorbed  by  it  in  sufficient  quantity  to  stimulate 
corrosion. 

Researches  conducted  by  the  American  Society  for  1  esting  Materials, 
the  Paint  Manufacturers’  Association  and  other  organizations  interested  in 
the  subject  have  showm  that  certain  pigments  in  contact  with  iron  and 
steel  have  the  property  of  stimulating  corrosion,  while  others  exhibit  a 
tendency  to  prevent  it. 


88 


BE  SURE  THE  SURFACE  IS  DRY  BEFORE  APPLYING  THE  PAINT 


When  iron  is  painted  with  a  stimulator  of  corrosion,  such  as  graphite, 
if  for  any  reason  water  finds  its  way  into  the  oil  film,  corrosion  is  bound  to 
take  place  to  a  very  advanced  degree.  Should  a  paint  be  used  on  metal 
surfaces  that  is  chemically  active  in  its  pigment  content  in  such  a  way  as  to 
convey  oxygen  to  the  metal  beneath,  it  will  surely  stimulate  corrosion 
instead  of  preventing  it. 


Photographic  representation  of  rust-spots  formed  on 
the  surface  of  iron 

The  most  important  thing  for  the  plant  superintendent  to  do  is  to  use 
the  proper  material  and  to  paint  all  metal  surfaces  in  and  about  the  plant 
with  sufficient  frequency  to  check  corrosion.  Paint  manufacturers  have 
developed  finishes  for  metal  surfaces  that  are  excellent  inhibitors  of  rust. 
If  surface  conditions  are  right  and  the  material  used  according  to  directions, 
rust  and  decay  will  be  retarded. 


Corrosion  Pits  on  Graphite  Panel 


CONCRETE  AND  CEMENT  SURFACES  NEED  PROTECTION  THE  SAME  AS  WOOD  AND  METAL 


Unusual  Conditions  to  Which  Metal 
Surfaces  Are  Exposed 

In  some  industries  direct  contact  with  acid  and  the  presence  of  gases  and 
acid  fumes  cause  corrosion  of  metal  surfaces  at  an  alarming  rate.  Fre¬ 
quently,  the  improper  material  is  used  in  painting  from  the  standpoint  of 
composition,  and  the  pigment  composing  the  paint  further  stimulates  the 
action  of  these  elements.  Many  industries  today  are  confronted  with  the 
problem  of  arresting  these  ravages,  which  cause  expensive  replacement  of 
equipment  at  rather  frequent  intervals.  There  are  paints  that  will  resist 
such  severe  conditions,  and,  while  not  affording  indefinite  protection,  their 
frequent  application  will  be  a  distinct  economy  in  the  long  run. 

Serious  difficulty  is  experienced  in  preventing  rust  and  corrosion  on 
piping  and  other  surfaces  subject  to  constant  immersion  in  water,  where 
water  is  sprayed,  or  where  it  leaks  or  drips  on  such  surfaces  intermittently. 
Alternate  wet  and  dry  metal  surfaces  are  hard  to  take  care  of  from  the 
standpoint  of  paint  protection.  Piping  and  other  metal  surfaces  that  are 
to  be  in  contact  with  steam  and  vapor  rising  from  vats  or  other  moisture- 
creating  conditions  may  be  preserved  from  corrosion,  if  the  paint  is  allowed 
to  become  throughly  hard  and  dry  before  exposure,  presenting  a  more  or 
less  impermeable  film,  which  will  offer  considerable  resistance  to  the  action 
of  these  destructive  influences. 

If  there  are  conditions  in  your  plant  which  no  paint  coat  is  apparently 
able  to  meet — put  your  problem  up  to  the  paint  manufacturer.  He  will 
either  recommend  the  proper  material  to  use,  or  explain  the  reason  why  no 
paint  coating  will  give  permanent  satisfaction. 

Characteristics  of  the  Products  for  the  Arrest 

of  Corrosion 

In  general  a  paint  for  the  protection  of  iron  and  steel  should  be  composed 
of  suitable  pigments  combined  with  the  proper  vehicle,  the  resultant 
product  being — 

Chemically  permanent; 

Chemically  inert  toward  iron; 

Resistant  to  physical  damage; 

Impervious  to  air  and  moisture; 

Sufficiently  elastic  to  expand  and  contract  without  damage; 

Rust-inhibitive. 

Chemical  Permanence 

There  must  be  an  affinity  between  the  pigment  matter  and  the  oik  and 
the  pigment  must  be  exceedingly  fine  for  most  satisfactory  results.  This  is 


91 


Rust  on  Stripped  Graphite  Film 

92 


GOOD  PAINT  COSTS  NOTHING 


of  the  utmost  importance.  For  instance,  in  red  lead  of  the  best  quality 
the  particles  have  a  strong  attraction  for  oil,  which  tends  to  hold  the  film 
together  and  to  make  it  tough,  so  that  it  will  not  open  out  into  pores.  When 
such  a  paint  is  applied,  it  does  not  break,  but  makes  a  continuous  film.  The 
fineness  of  the  pigment  is  one  of  the  most  important  factors.  If  this 
attraction  of  pigment  for  oil  does  not  exist,  the  paint  may  brush  out  thin 
but  be  full  of  breaks  and  imperfections  invisible  to  the  eye,  giving  poor 
protection  to  the  metal  underneath.  Too  rapid  drying  is  an  indication  of 
unstable  chemical  condition.  Drying  is  a  chemical  change  and  should 
proceed  gradually. 


Corroded  and  Pitted  Surface  of  Plate  Painted  with  Stimulative  Paint 

Chemical  Inertness  Toward  Iron 

Since  it  is  admitted  that  electricity  is  one  of  the  causes  of  corrosion,  a 
paint  for  use  on  metal  surfaces  should  be  a  non-conductor. 


93 


PAINTING  IS  CHEAPER  THAN  REPLACEMENT 


With  the  exception  of  graphite,  most  pigments  are  non-conductors. 

“The  conducting  power  of  graphite  is  so  perfect  that  in  electroplating 
plaster  casts  and  the  like,  they  are  covered  with  a  graphite  film  not  more 
than  1/10,000  of  an  inch  in  thickness,  which  conducts  the  feeblest  current 
of  electricity  as  though  it  were  a  metal  surface.  On  the  other  hand  a  film 
of  red  lead  paint  has  been  found  by  electrical  experts  to  be  equal  in  inhibit¬ 
ing  power  to  india  rubber.” 

Dr.  A.  H.  Sabin,  from 

“Proceedings  Engineering  Society  of  Western  Pennsylvania.” 


Graphite  is  in  some  respects  a  good  preserver  of  metal  surfaces,  provided 
there  is  interposed  between  it  and  the  metal  at  least  one  coat  of  a  recognized 
inhibitive  paint,  such  as  red  lead  or  basic  lead  chromate  (American  ver¬ 
milion).  It  is  a  serious  mistake,  however,  to  apply  graphite  over  bare  metal. 
Electrolysis  is  almost  immediately  begun,  and  if  not  checked  will  in  time 
completely  destroy  the  metal.  Pigments  vary  greatly  in  their  inertness  to 
metal.  Tests  carried  on  at  Atlantic  City  show  that  certain  pigments,  such 
as  zinc  chromate,  together  with  combinations  of  other  standard  pigments, 
possess  a  high  degree  of  inertness  toward  iron  and  steel  and  are  rust-inhibi- 
tives  to  a  superlative  degree. 

Resistance  to  Physical  Damage 

It  is  obvious  that  a  paint  that  dries  to  a  brittle,  easily-abrased  surface  is 
of  little  value  on  metal  work.  The  character  of  the  vehicle  in  the  material 
has  a  most  important  bearing  on  its  toughness.  Brittle  films  crack  and 
scale  off.  These  cracks  are  of  two  kinds — those  which  penetrate  through  to 
the  iron  and  are  caused  by  lack  of  strength  and  toughness  in  the  film,  and 
those  which  appear  only  on  the  outer  surface  and  are  due  to  too  soft  and 
elastic  an  undercoat.  To  prevent  the  latter,  the  priming  coat  must  be  hard 
and  firm.  It  must  contain  plenty  of  pigment,  and  at  the  same  time  a  con¬ 
siderable  degree  of  hardness,  so  that  it  does  not  involve  loss  of  toughness. 
This  has  an  extremely  important  bearing  on  the  wearing  and  resistant 
qualities  of  subsequent  coats,  permitting  them  to  oppose  the  action  of  the 
elements  and  the  abrasive  influences  of  contact  with  other  surfaces. 


Imperviousness  to  Air  and  Moisture 

A  paint  that  has  an  open  or  porous  structure  is  of  little  value  as  a  pre¬ 
ventive  of  rust  and  corrosion.  It  is  necessary  that  the  liquid  part  of  the 
paint  be  water-resistant,  so  that  when  dry  the  film  may  be  such  as  will 
prevent  the  ingress  of  moisture  and  be  unaffected  by  atmospheric  condi¬ 
tions.  When  it  is  considered  that  the  thickness  of  the  average  paint  film  is 
IT, 000  or  1/500  of  an  inch,  the  importance  of  the  proper  combination  of 
pigment  and  vehicle  can  be  readily  understood. 


94 


STANDARDIZE  YOUR  PAINT  PURCHASES 


Elasticity 


Perfect  condition  of  plates  painted  with  zinc  chromate 


This  is  one  of  the  most  important  characteristics  of  a  successful  paint 
coating.  No  matter  how  impervious  to  air  and  moisture  the  film  may  be, 
nor  how  closely  it  adheres  to  the  surface,  if,  when  thoroughly  dry,  it  does 
not  possess  sufficient  elasticity  to  expand  and  contract  along  with  the  metal 
over  which  it  is  used,  it  will  quickly  fail  as  a  protective  coating.  r\  here  are 
extremes  of  expansion  and  contraction  of  metal  surfaces  through  which  no 
paint  will  pass  unharmed.  But  the  average  or  normal  expansion  and  con¬ 
traction  of  metal  surfaces  should  exercise  no  detrimental  effect  upon  the 
paint  coat. 


95 


RUST  AND  DECAY  ARE  THE  ONLY  PERPETUAL  MOTION 


Rust-Inhibition 

This  is  the  most  important  consideration  in  a  preservative  coating  for 
metal  surfaces.  Given  a  paint  that  successfully  meets  all  other  qualifica¬ 
tions,  yet  is  so  composed  that  the  pigment  portion  fails  to  resist,  but  rather 
stimulates  the  production  of  rust — such  a  paint  is  worse  than  no  paint  at  all. 

Reference  has  been  made  previously  to  the  stimulation  of  rust  incident  to 
the  use  of  graphite  as  a  pigment.  There  are  ot'  er  pigments  which  exercise 
a  similar  effect  on  metal  surfaces  in  varying  degrees.  On  the  other  hand, 
tests  have  shown  that  certain  pigments  act  as  excellent  inhibitors  or  pre¬ 
ventives  of  corrosion.  This  is  shown  very  clearly  in  the  following  chart, 
covering  inspection  of  steel  plates  at  Atlantic  City  over  a  period  of  five 
years  by  Sub-Committee  IV  of  Committee  D-l  of  American  Society  for 
Testing  Materials. 


Average  Ratings  of  Pigments 


The  rating  of  10  indicates  maximum  value  as  rust-inhibitor. 


NO 

PIGMENT 

1910 

1911 

1912 

1913 

1914 

4 

Sublimed  white  lead . 

9.5 

9.0 

8.1 

5.9 

3.5 

5 

Sublimed  blue  lead . 

9.6 

8.8 

9.0 

7.2 

6.0 

9 

Orange  mineral . 

9.0 

8.3 

6.9 

4.0 

3.0 

10 

Red  lead . 

8.7 

8.3 

8.1 

6.3 

4.0 

12 

Bright  red  oxide . 

9.3 

8.1 

6.7 

4.5 

2.5 

14 

Venetian  red . 

7.2 

8.0 

6.4 

5.1 

1.5 

15 

Metallic  brown . 

6.3 

6.3 

6.2 

6.1 

3.0 

16 

Natural  graphite . 

9.1 

6.8 

6.6 

6.2 

4.0 

17 

Artificial  graphite . 

7.1 

5.9 

4.4 

2.6 

0.0 

19 

Lampblack . 

7.1 

6.3 

5.5 

4.2 

0.0 

20 

Willow  charcoal . 

8.8 

8.8 

8.6 

7.9 

4.5 

21 

Carbon  black . 

8.3 

7.2 

7.0 

6.8 

5.0 

24 

Yellow  ochre . 

5.8 

5.5 

5.8 

5.2 

1.5 

3b 

American  vermilion . 

9.1 

10.0 

9.9 

9.8 

7.5 

36 

Medium  chrome  yellow . 

7.0 

7.7 

6.0 

5.2 

3.5 

39 

Zinc  chromate . 

9.4 

9.5 

8.8 

8.0 

4.0 

40 

Zinc-and-barium  chromate . 

9.7 

9.5 

8.5 

7.8 

2.5 

41 

Chrome  green . 

9.8 

9.8 

8.6 

7.6 

5.0 

44 

Prussian  blue  (water  stimulative) .... 

9.2 

9.0 

7.8 

6.7 

3.5 

49 

Zinc-and-lead  chromate . 

9.5 

9.7 

9.2 

8.3 

4.0 

51 

Magnetic  black  oxide . 

9.5 

9.5 

8.6 

7.8 

4.0 

Note:  No.  34,  American  Vermilion  (Basic  Lead  Chromate),  is  given 
the  highest  rating  as  a  rust-inhibitor. 

Tests  conducted  at  Atlantic  City,  N.  J.,  over  a  period  of  years,  in  which 
steel  panels  were  painted  with  a  wide  range  of  paint  coatings,  have  proved 
conclusively,  that 


96 


WHEN  DID  YOU  MAKE  THE  LAST  PAINT  INSPECTION? 


“FIRST — Basic  pigments  such  as  litharge,  red  lead,  blue  lead  (basic  sulphate), 
white  lead,  zinc  oxide,  inhibit  the  corrosion  of  iron. 

SECOND — Chromic  compounds, — basic  lead  chromate,  normal  lead  chromate, 
zinc  chromate — prevent  the  corrosion  of  iron. 

THIRD — So-called  neutral  or  inert  pigments,  such  as  iron  oxide,  which  do  not 
excite  corrosion,  produce  with  linseed  oil  very  durable  films.  Such  pigments 
include  black,  brown  and  red  oxides  of  iron,  china  clay,  silica,  talc  and 
barium  sulphate. 

FOURTH — Substances  that  form  a  galvanic  couple  with  steel  in  the  presence  of 
moisture  cause  rapid  corrosion.  Pigments  which  act  in  this  fashion  (graphite, 
carbon  black,  lampblack)  are  used  only  as  constituents  of  finishing  coats  on 
steel  surfaces,  when  first  insulated  from  the  metal  by  a  coat  of  basic  or  chro¬ 
mate  pigment  paint.  These  carbon  pigments  with  linseed  oil  form  very 
durable  and  water-resisting  coatings.”  “ Metal  Protective  Paints.” — H.  A.  Gardner 


a  ■  ■  .mSm't'.-  waL  a 

FTJPl 

f 

' 

M.-yiV'p  •  ■- O  ~  '7/ ‘ - -  4fTr 

'sttseSsf  7" 'c'-'Afr- j 

;T 

;  $  i  • 

This  would  seem  to 
indicate  that  metal 
surfaces,  primed  with 
a  paint  composed  of  a 
substantial  amount  of 
one  or  more  basic  or 
chromate  pigments, 
and  finished  with  car¬ 
bon  or  iron  oxide 
paint,  will  be  protect¬ 
ed  from  corrosion 
under  most  conditions 
for  a  long  period  of 
time. 

The  nature  of  the 
vehicle  used  in  paints 
for  metal  surfaces  is 
of  equal  importance 
with  the  pigment  con¬ 
tent.  Linseed  oil, "when 
used  without  the  addi¬ 
tion  of  pigments,  is 
not  a  desirable  mate¬ 
rial  to  use  as  a  prim¬ 
ing  coat.  Such  a 
foundation  coat  is 
often  the  direct  cause 
of  peeling  or  blistering 


Appearance  of  Steel  Panel  Coated  with  Improperly  Prepared  Paint 
Containing  a  Rust-exciting  Pigment 

97 


PAINTING  IS  AN  INVESTMENT,  NOT  AN  EXPENSE 


of  the  finishing  coats.  The  oil  is  seldom  dry  enough  to  insure  close  adherence 
to  the  metal  surface  before  the  other  paints  are  spread  over  it.  When 
subsequently  painted,  the  underlying  coat  of  oil  is  softened,  and  the 
moderate  heat  of  the  sun  is  sufficient  to  cause  the  entire  film  to  draw  up, 
blister  and  finally  peel.  Too  much  oil  in  the  paint  coating,  particularly  in 
or  near  the  priming  coat,  will  generally  cause  the  same  result.  If  the  paint¬ 
ing  is  not  finished  on  an  oil-coated  structure  within  a  reasonable  length  of 
time,  the  film  of  oil  will  have  practically  perished,  the  surface  will  be  dead 
and  will  not  have  stability  enough  to  carry  the  subsequent  coat  successfully. 

The  vehicle  of  the  most  successful  inhibitive  paints  is  largely  composed 
of  high-grade  gums  which  may  be  combined  with  linseed  oil  and  sufficient 
drier  for  proper  oxidation.  Paints  containing  tar  or  those  with  a  tar  base 
should  not  be  used  on  steel  structures  exposed  to  the  weather,  as  tar-paint 
films  rapidly  check,  crack  and  “alligator. 


PREPARATION  OF  THE  METAL  SURFACE 

FOR  PAINTING 

Successful  results  in  painting  metal  surfaces  depend  to  a  large  extent 
upon  the  condition  of  the  surface  when  the  paint  is  applied.  Failure  to 
recognize  the  importance  of  proper  preparation  for  painting  is  responsible 
for  much  later  dissatisfaction. 

Paint  should  never  be  applied  on  a  surface  in  a  more  or  less  advanced 
state  of  rust,  without  first  removing  as  much  of  the  rust  as  possible  and 
presenting  a  sound,  solid  surface  to  receive  the  paint.  Rust  not  removed, 
and  in  an  aggravated  form,  will  inevitably  continue  underneath  the  paint 
coat,  and  if  not  checked,  the  metal  will  in  the  end  be  destroyed.  It  has  been 
proved  conclusively  that  time  and  expense  invested  in  proper  preparation 
of  the  surface  for  painting  brings  large  dividends  in  the  longer  life  and 
better  protection  given  by  the  paint  coat. 

New  Surfaces  or  Surfaces  Never  Before  Painted 

1.  The  surface  must  be  free  from  dust  and  dirt. 

2.  All  grease  and  oil  should  be  removed  by  washing  with  benzine. 

3.  Remove  all  rust  and  millscale  either  by  sand-blasting  or  with  hammers, 

steel  scrapers  and  wire  brushes.  The  sand-blast  method  is  much  more 
thorough  than  the  other  methods,  although  the  cost  is  generally  consid¬ 
erably  greater.  Where  steel  has  been  cleaned  by  sand-blast  and  painted 
promptly,  it  has  not  shown  signs  of  corrosion  again  nearly  so  quickly 
as  in  the  case  of  steel  cleaned  by  hand.  The  wire  brush  is  an  efficient 
means  of  getting  rid  of  loose  scale  and  dirt;  but  it  is  practically  worth- 


98 


GOOD  LIGHTING  DOES  NOT  DEPEND  SOLELY  UPON  DIRECT  ILLUMINATION 


less  for  removing  thick  rust  or  anything  which  adheres  closely.  Such 
material  may  be  removed  with  steel  scrapers;  but  deeply  corroded 
spots  should  be  thoroughly  cleaned  with  a  chisel,  and  then  well  brushed 
out. 


Surfaces  Previously  Painted 

1.  See  that  surface  is  free  from  dust  and  dirt. 

2.  Remove  all  grease  and  oil  by  washing  with  benzine. 

3.  Where  paint  has  been  previously  applied  over  a  rusted  surface,  the  old 

paint  should  be  removed  by  any  of  the  methods  described  previously. 
Paint  that  is  scaling  or  peeling  should  be  removed  in  like  manner.  Bare 
rusted  spots  should  be  coated  with  benzine  over  and  around  them  and 
the  benzine  burned  off.  Scrape  and  wire-brush  to  remove  all  possible 
rust. 

4.  Gloss  finishes  cannot  be  applied  over  glossy  surfaces  with  good  results. 

Sandpaper  or  wire-brush  such  surfaces  sufficiently  to  remove  a  portion 
of  the  gloss  and  dust  carefully  before  applying  the  new  coat, 


Preparing  Galvanized  Iron  for  Painting 

Much  galvanized  iron  is  used  today,  particularly  in  buildings  designed 
to  be  fire-proof.  Siding  and  roofs  of  buildings,  cornice  work,  gutters,  drain 
pipes,  and  other  accessories  to  building  construction  are  permitted  to 
remain  unpainted,  under  the  impression  that  since  the  iron  has  a  coat  of 
zinc  applied  by  the  galvanizing  process,  it  is  immune  to  rust  and  corrosion. 
It  is  true  that  galvanized  iron  will  withstand  the  action  of  the  elements, 
gases,  vapors,  etc.  for  a  short  time;  but  when  it  begins  to  deteriorate,  the 
decay  and  destruction  is  rapid  and  in  many  cases  it  has  gone  too  far  to 
permit  a  paint  coat  to  be  of  any  value.  These  surfaces  should  be  painted 
promptly  when  new. 

New  Galvanized  Iron 

In  the  process  of  galvanizing  iron,  an  oily  surface  remains,  to  which  paint 
will  not  adhere.  This  oil  must  be  removed  by  washing  with  a  solution 
made  by  dissolving  8  ounces  of  Copper  Acetate  or  Copper  Sulphate  in  one 
gallon  of  warm  water.  This  solution  removes  all  grease  or  other  substance 
that  may  interfere  with  proper  adhesion  of  the  paint  coat.  C  opper  Acetate 
or  Copper  Sulphate  is  recommended  in  preference  to  nitric  or  muriatic  acid, 
for  the  reason  that  it  will  not  start  rust,  as  is  frequently  the  case  when  these 
acids  are  used.  After  this  solution  has  been  allowed  to  dry  on  the  surlace, 
paint  may  be  applied  without  fear  of  scaling  or  peeling. 

99 


Steel  panel  painted  with  graphite  (rust-stimulative)  paint,  after  eight  years'  exposure. 

Paint  applied  direct  to  metal  surface 


100 


WHAT  18  THE  LIGHT-REFLECTING  VALUE  OF  YOUR  WALLS  AND  CEILINGS? 


Galvanized  Iron  Previously  Painted 

Where  peeling  and  scaling  conditions  exist  on  surfaces  previously 
painted  it  is  necessary  to— 

1.  Remove  all  loose  particles  of  paint  with  the  wire  brush  or  by 
scraping. 

2.  Dust  the  surface  and  see  that  it  is  clean. 

Paint  that  is  adhering  closely  need  not  be  removed,  and  the  priming 
or  finishing  coat  may  be  applied  directly  over  it. 

APPLICATION  OF  THE  MATERIAL 

Refer  to  Chapter  12,  “General  Methods  of  Application,”  page  59, 
taking  particular  note  of  the  method  to  follow  in  preparing  the  material 
for  use. 

Faulty  application  is  classed  as  one  of  the  greatest  causes  of  paint  defects. 
No  matter  how  good  a  paint  may  be,  or  how  perfectly  suited  for  the  pur¬ 
pose  intended,  if  it  is  not  applied  properly,  unsatisfactory  results  are  sure 
to  follow. 

Follow  the  manufacturer’s  directions  regarding  the  addition  of  thinners 
for  priming  coats.  Bear  in  mind  that  the  character  of  the  priming  coat  has 
a  direct  bearing  upon  the  durability  and  protective  quality  of  the  finishing 
coats.  The  use  of  the  proper  primer  is  of  utmost  importance. 1 

The  priming  coat  should  be  brushed  out  well.  It  should  not  be  applied 
too  heavily.  See  that  the  surface  of  the  metal  is  covered  thoroughly. 

Allow  plenty  of  time  between  coats  for  thorough  drying.  This  is  extremely 
important.  The  time  will  vary  with  the  character  of  the  material  and  the 
conditions  under  which  it  is  used. 

Thorough  brushing  of  finishing  coats,  except  in  the  case  of  enamels  or 
varnishes,  is  essential.  Instructions  for  the  use  of  these  products  are  given 
on  page  61. 

If  two  or  more  finishing  coats  are  used,  see  that  the  previous  coat  is 
thoroughly  dry  before  the  next  coat  is  applied. 

The  kind  of  brush  used  has  an  important  bearing  upon  the  character  of 
the  finished  work.  Refer  to  Chapter  25,  describing  the  brushes  recom¬ 
mended  for  each  purpose. 

Causes  of  Deterioration  of  Paint  on  Metal  Surfaces 

Faulty  application  has  been  mentioned  as  the  foremost  contributing 
cause  to  unsatisfactory  results  in  painting  metal  surfaces.  In  addition,  the 
following  should  be  carefully  noted: 

101 


Steel  Panel  Painted  with  Carbon  (rust-stimulative)  Paint,  After  Eight  Years’  Exposure. 
Paint  Applied  Direct  to  Metal„Surface 


102 


BETTER  LIGHTING  INCREASES  PRODUCTION  FROM  6  TO  12% 


1.  Moisture — Paint  will  blister  and  peel,  if  the  surface  to  be  painted  is 

damp  or  wet.  For  this  reason  exterior  painting  should  never  be  done 
in  wet  or  freezing  weather.  Interior  painting  should  not  be  done  in  a 
moist  atmosphere. 

2.  Thickness  of  Coat — Paint  will  blister  and  peel  if  applied  too  heavily. 

Brush  out  well.  Three  thin  coats  will  give  much  better  service  than 
two  thick  coats.  Use  a  good  brush,  one  that  is  suitable  for  the  work 
in  hand. 

3.  Wrong  or  Poor  Primer — No  matter  how  good  or  how  well  suited  to 

the  work  the  finishing  paint  may  be,  it  will  blister  and  peel,  if  the 
primer  is  not  right.  Make  sure  of  the  primer.  This  is  of  utmost 
importance.  A  different  shade  from  the  finishing  coat  is  advised, 
in  order  to  aid  inspection  of  the  completed  work. 

4.  Time  for  Hardening — Allow  plenty  of  time  for  drying  before  applying 

succeeding  coat.  Finishing  coats  will  not  adhere  properly  if  previous 
coats  are  not  thoroughly  dry. 

5.  Use  of  Thinners — Follow  the  manufacturer’s  recommendations  as  to 

the  material  to  use,  if  thinning  is  required.  Make  sure  of  the  quality 
of  the  thinners  used.  Guard  against  the  use  of  cheap  and  worthless 
oils,  japans  and  the  like. 

6.  Thorough  Stirring — See  that  the  pigment  is  thoroughly  incorporated 

with  the  vehicle.  Follow  carefully  the  directions  for  the  preparation 
of  the  material  for  use,  as  given  on  page  98. 

7.  Keep  Packages  Closed — Cans  that  have  been  opened,  and  part  of  the 

contents  used,  should  be  treated  so  as  to  preserve  the  remaining 
material  for  future  use.  If  this  is  not  done,  the  volatile  may  evaporate, 
leaving  a  heavy  mass  of  pigment  which  must  be  thinned  before 
application.  If  a  large  package,  and  the  lid  has  been  retained,  it  should 
be  sealed  up  again  as  tightly  as  possible.  If  a  gallon  or  smaller  can,  and 
the  lid  has  been  cut  out,  a  piece  of  heavy  paper  should  be  tied  over  the 
top.  In  any  event,  the  material  should  be  covered,  if  for  no  other  reason 
than  to  keep  out  dust  and  dirt  and  other  foreign  material.  If,  on 
reopening,  the  contents  have  skinned  over,  carefully  remove  the 
skin.  Do  not  stir  it  into  the  paint  under  any  circumstances. 


103 


t 


DAYLIGHT  18  THE  CHEAPEST  LIGHT 


Chapter  16 

EXTERIOR  METAL  SURFACES 

The  use  of  steel  and  iron  and  other  metals  in  industrial  construction  and 
equipment  is  so  widespread  and  so  varied  that  the  preservation  of  these 
surfaces  from  corrosion  is  probably  more  important  than  that  of  any  other 
material.  The  foregoing  chapters  have  treated  the  subject  in  a  general  way ; 
this  chapter  is  specific,  giving  recommendations  for  the  proper  procedure 
in  painting  practically  all  types  of  exterior  metal  surfaces. 

STRUCTURAL  STEEL  CONSTRUCTION 

New  Surfaces 

This  refers  to  steel  used  in  the  construction  of  buildings,  and  other 
industrial  structures,  whether  exposed  or  later  covered  with  brick,  concrete 
or  other  material.  The  fact  that  it  may  later  be  covered  with  other  building 
material  makes  paint  protection  no  less  important.  (See  complete  treat¬ 
ment  of  this  subject  in  Chapter  18,  “Treatment  of  Concrete  and  Cement 
Surfaces.”) 

Structural  steel  is  generally  supplied  in  a  partially-painted  condition. 
On  arrival  at  the  point  of  construction,  it  usually  carries  what  is  called  a 
“shop  coat,”  which  acts  as  a  primer.  This  shop  coat  varies  in  character, 
although  in  most  instances  it  is  a  red  lead,  mixed  with  linseed  oil  and  drier 
On  erection  it  is  followed  with  a  “field  coat,”  usually  black  or  other  dark 
color,  generally  applied  by  the  concern  having  the  contract  for  the  work. 

Frequently  such  surfaces  are  not  painted  again  for  many  years  and  in 
some  instances  are  never  given  a  new  coat  of  paint.  Inasmuch  as  the  per¬ 
manence  of  the  structure  depends  largely  upon  its  paint  protection,  manu¬ 
facturers  should  insist  upon  the  use  of  the  proper  material  by  the  company 
having  the  construction  in  charge. 

Priming  Coat.  Requirements: 

Rust-inhibiting; 

Solid  hiding; 

Easy  working; 

Maximum  spreading  capacity; 

Mixed  ready  for  use; 

Remaining  in  suspension  and  not  becoming  hard  in  the  package; 

Close  adherence  to  the  surface; 

Sufficiently  elastic  to  contract  and  expand  along  with  the  metal 
without  cracking  or  peeling; 

Creating  a  proper  foundation  for  succeeding  finishing  coats; 

Suitable  for  either  brush  or  spray  application. 


105 


CHEAP  PAINT  COSTS  TOO  MUCH  TO  USE 


Application:  Refer  to  page  98,  “Preparation  of  the  Surface,”  and  page  101, 
“Application  of  the  Material.” 

See  that  the  surface  is  dry  and  free  from  dust  and  dirt. 

Stir  thoroughly. 

Brush  out  well,  taking  care  to  see  that  the  surface  is  completely 
covered.  If  applied  by  spray,  see  that  full  coverage  is  obtained. 

Allow  at  least  48  hours  for  thorough  drying. 

In  most  instances  but  one  coat  is  required. 

All  abrasions  occurring  during  transportation  should  be  touched  up 
with  the  Primer,  and  allowed  to  dry  before  succeeding  coats  are  applied. 

Care  should  be  exercised  to  see  that  all  parts  that  are  to  be  sub¬ 
sequently  brought  into  contact  with  each  other  through  riveting  or  bolt¬ 
ing  be  given  at  least  a  coat  of  Primer.  This  is  extremely  important  for 
the  reason  that  when  bare  metal  is  placed  upon  bare  metal,  a  contact 
is  made  that  is  conducive  to  electrolysis.  These  parts  are  inaccessible 
to  later  painting.  Rusting  at  these  joints  impairs  not  only  the  strength 
but  the  stiffness  of  the  structure. 

Material:  Du  Pont  Kromate  Metal  Primer.  It  is  very  similar  in  color  to 
the  lighter  shades  of  red  lead.  See  shade  in  supplement,  page  6. 

Spreading  Capacity:  Approximately  600-700  square  feet,  per  gallon, 
one  coat;  or  2  tons  of  steel,  one  coat. 

Finishing  Coat 

Requirements: 

Mixed  ready  for  use; 

Remaining  in  suspension  and  not  becoming  hard  in  the  package; 

Easy  working; 

Solid  hiding; 

Close  adherence  and  union  with  the  primer; 

A  smooth,  glossy  surface  upon  drying; 

Imperviousness  to  moisture; 

Non-conductor  of  electrical  currents; 

Resistant  to  gas  and  acid  fumes; 

Sufficiently  elastic  to  expand  and  contract  without  cracking  or 
peeling; 

Suitable  for  brush  or  spray  application. 

Application :  Refer  to  page  98,  “Preparation  of  the  Surface,  ’  and  page  101, 
“Application  of  the  Material.” 

See  that  the  priming  coat  is  thoroughly  dry  and  that  the  surfaee 
is  clean. 


106 


TIME  IS  THE  ONLY  TEST  OF  THE  QUALITY  OF  PAINT  AND  VARNISH 


Apply  as  received  in  the  package,  after  thorough  stirring. 

Brush  out  well.  See  that  the  priming  coat  is  fully  covered.  If 
applied  by  spray,  complete  coverage  of  priming  coat  is  necessary. 

Allow  at  least  48  hours  for  drying. 

Material:  Du  Pont  Ferro-Keep  under  normal  conditions.  See  shades  in 
supplement,  page  6. 

Where  the  surface  must  meet  abnormal  conditions  of  any  kind, 
such  as  extremes  of  moisture  or  dampness,  resistance  to  acid  or  gas¬ 
eous  fumes,  or  relatively  high  degrees  of  heat,  Du  Pont  Antoxide  will 
give  far  better  results. 

See  shades  in  supplement,  page  6. 

Spreading  Capacity:  Each  approximately  600-700  square  feet,  per  gal¬ 
lon  one  coat;  or  2  tons  of  steel,  one  coat. 

STRUCTURAL  STEEL 
Previously  Painted 

Certain  steel  construction  is  exposed  to  the  atmosphere  and  is  not  sub¬ 
sequently  covered  with  any  other  structural  material.  Frequent  repainting 
of  these  surfaces  is  advised. 

Requirements:  Similar  to  those  described  under  “Finishing  Coats,”  for 
structural  steel,  page  106. 

Application:  See  that  the  surface  is  dry,  and  free  from  dust  and  dirt. 

All  loose  particles  of  paint  should  be  removed  with  a  wire  brush. 

Existing  rust  spots  should  be  scraped  and  wire-brushed. 

The  material  should  be  applied  as  received  in  the  package,  after 
thorough  stirring. 

Generally,  but  one  coat  is  required  for  repainting,  except  where  rust 
is  considerable.  Such  spots  should  first  be  touched  up  with  Kromate 
Metal  Primer,  and  allowed  to  dry,  and  the  entire  surface  then  given 
a  new  coat. 

Brush  the  paint  out  well.  If  applied  by  spray,  see  that  all  parts  are 
thoroughly  covered. 

Material:  Du  Pont  Ferro-Keep  or  Du  Pont  Antoxide — see  above. 

See  shades  in  supplement,  page  6. 

Spreading  Capacity:  Each  approximately  600-700  square  feet,  per  gal¬ 
lon,  one  coat;  or  2  tons  of  steel,  one  coat. 

ROOFS— GALVANIZED  IRON,  TIN 
OR  OTHER  METAL 
Galvanized  Iron — New 

The  oily  surface  of  galvanized  iron  should  be  washed  with  a  solution  of 
8  ounces  Copper  Acetate  or  Copper  Sulphate  to  the  gallon  of  water.  Allow 
to  dry  4  hours  before  applying  the  primer.  (See  “Preparation  of  the 
Surface  of  Galvanized  Iron,”  page  99.) 


107 


GOOD  PAINT  AND  VARNISH  HOLDS  DOWN  UPKEEP  COST 


Priming  Coat.  Requirements:  Same  as  for  new  Structural  Steel  Construc¬ 
tion,  page  105. 

Application:  Refer  to  page  101,  “Application  of  the  Material.” 

See  that  the  surface  is  dry  and  free  from  dust  and  dirt. 

Stir  the  primer  thoroughly  and  brush  out  well. 

If  applied  with  the  spray,  see  that  the  surface  is  thoroughly  covered. 
Allow  at  least  48  hours  for  thorough  drying. 

Material:  Du  Pont  Kromate  Metal  Primer. 

Spreading  Capacity:  Approximately  600-700  sq.  ft.,  per  gallon,  one  coat. 

Finishing  Coat.  Requirements:  Same  as  stated  for  “Structural  Steel 
Construction,”  page  106. 

Application:  See  that  the  surface  is  dry  and  free  from  dust  and  dirt. 

Stir  the  material  thoroughly,  and  brush  out  well. 

If  applied  by  spray,  see  that  every  portion  of  the  primer  is  covered. 
Allow  at  least  48  hours  for  thorough  drying. 

If  two  coats  are  to  be  applied,  thin  the  first  coat  slightly  with 
turpentine. 

The  finishing  coat  should  be  applied  just  as  received  in  the  package, 
after  thorough  stirring. 

Material:  Du  Pont  Ferro-Keep — or  Du  Pont  Antoxide.  See  colors  in 
supplement,  page  6. 

Spreading  Capacity:  Approximately  600-700  sq.  ft.,  per  gallon,  one  coat. 

Where  cost  is  an  important  consideration,  Du  Pont  Barn  and  Roof  Paint 
should  be  used.  It  spreads  about  500  to  600  square  feet,  per  gallon,  one 
coat.  See  shades  in  supplement,  page  5. 

Note:  In  the  presence  of  extreme  acid  or  gaseous  fumes,  or  in  other  abnormal 
conditions,  Du  Pont  Acid  Zone  Red  is  recommended.  Made  especially  for  this  use.  To 
be  applied  similarly  to  Ferro-Keep. 

GALVANIZED  IRON 
Previously  Painted 

Finishing  Coat.  Requirements:  Same  as  recommended  for  New  Sur¬ 
faces.  See  page  105. 

Application:  See  that  the  surface  is  clean  and  free  from  dust  and  dirt. 

All  loose  or  scaling  paint  and  all  rust  spots  should  be  wire- brushed 
and  the  surface  dusted. 

The  material  should  be  applied  as  received,  after  thorough  stirring. 
Brush  out  well.  If  spray  is  used,  see  that  all  parts  of  the  surface  are 
completely  covered. 


108 


LET  THE  PAINT  MANUFACTURER  SOLVE  YOUR  PAINT  PROBLEMS 


Material:  Du  Pont  Ferro-Keep,  Du  Pont  Antoxide  or  Du  Pont  Barn  and 
Roof  Paint.  See  colors  in  supplement,  pages  5  and  6. 

Spreading  Capacity:  Ferro-Keep  approximately  600-700  square  feet, 
per  gallon,  one  coat;  Barn  and  Roof  Paint  500  to  600  square  feet,  per 
gallon,  one  coat. 

Note:  In  the  presence  of  extreme  acid  or  gaseous  fumes,  or  in  other  abnormal 
conditions,  Du  Pont  Acid  Zone  Red  is  recommended.  Made  especially  for  this  use.  To 
be  applied  similarly  to  Ferro-Keep. 

TIN  ROOFS 

New  and  Previously  Painted 

New  tin  surfaces  also  possess  a  more  or  less  oily  substance  and  should  be 
treated  in  the  same  way  as  new  Galvanized  Iron  Roofs,  see  page  107.  Tin 
roofs  previously  painted  should  also  be  treated  the  same  as  recommended 
for  Galvanized  Iron  Roofs,  page  108. 

ROOFS  OF  OTHER  METAL 
New  or  Previously  Painted 

In  general,  the  same  procedure  as  described  for  Galvanized  Iron  Roofs 
should  be  followed. 

Copper  used  for  coping  and  other  surfaces,  under  certain  conditions  of 
the  atmosphere,  and  in  the  presence  of  soot  and  cinder  deposit,  becomes 
subject  to  rust  in  the  form  of  pitholes  and  corrosion  about  the  edges. 

New  surfaces  should  first  be  washed  with  naphtha.  Use  as  a  primer  Du 
Pont  Navalite  Varnish  containing  10%  to  15%  of  aluminum  bronze  pow¬ 
der.  When  dry  follow  with  a  finishing  coat  of  either  Du  Pont  Prepared 
Paint,  Antoxide  or  Ferro-Keep. 

If  it  is  desired  to  paint  these  surfaces,  after  the  rusting  has  begun,  the 
surface  should  first  be  wire-brushed  to  remove  all  rust,  incrustations, 
cinders,  etc.,  and  dusted  carefully.  Otherwise  the  procedure  is  the  same  as 
that  recommended  above. 

SIDING 

Galvanized  Iron,  Tin  or  Other  Metal 

Follow7  the  same  procedure  as  that  recommended  for  Roofs,  page  107. 

GUTTERS,  SPOUTING  AND  WATER  CONDUCTORS 

It  is  just  as  important  to  paint  the  inside,  where  possible  to  do  so,  as  it  is 
to  give  the  outside  of  these  surfaces  paint  protection. 

If  of  galvanized  iron,  follow  the  same  procedure  as  recommended  for 
Roofs,  page  107.  Where  a  color  is  desired,  different  from  that  given  by  the 
products  referred  to  under  Galvanized  Iron,  a  ready-mixed  paint  may  be 


109 


A  PAINT  FILM  IS  ONLY  1/500TH  OF  AN  INCH  IN  THICKNESS 


applied  in  the  same  manner  as  recommended  for  finishing  coat  work.  See 
Du  Pont  Prepared  Paint,  shades  in  supplement,  page  2. 

Copper  surfaces  should  be  treated  as  directed  for  copper  roofs,  page  109. 

FENCES,  Iron  or  Wire 

Galvanized  wire  fences  of  the  “Cyclone”  type  should  be  painted,  after 
permitting  them  to  “weather”  for  a  short  time.  Note  the  illustration  of  a 
method  of  doing  this,  on  page  179. 

New  Surfaces 

Priming  Coat.  Requirements  and  Application:  Similar  to  that  described 
on  page  105  under  “Structural  Steel  Construction.” 

Material:  Du  Pont  Kromate  Metal  Primer. 

Finishing  Coat.  Requirements  and  Application:  Similar  to  that  described 
on  page  106,  as  applying  to  “Structural  Steel  Construction.” 

Material:  Du  Pont  Ferro-Keep.  See  shades  in  supplement,  page  6. 

Note:  In  the  presence  of  acid  or  gaseous  fumes  or  in  other  abnormal  con¬ 
ditions,  use  du  Pont  Antoxide.  See  shades  in  supplement,  page  6. 

Previously  Finished  Surfaces 

Follow  directions  given  on  page  107  under  “Structural  Steel.”  Use 
Du  Pont  Antoxide,  as  recommended  above,  where  conditions  are  abnormal. 

FIRE  EQUIPMENT 

Fire  Plugs,  Hydrants,  Valves,  Alarm  Boxes, 

Hose  Carriages,  Hose  Houses,  etc. 

Here  the  most  important  requirement,  aside  from  the  durability  of  the 
finish,  is  a  color  that  will  make  them  conspicuous. 

New  Surfaces 

Priming  Coat.  Requirements  and  Application:  Similar  to  that  described 
on  page  105  under  the  head  of  “Structural  Steel  Construction. 

Material:  Du  Pont  Kromate  Metal  Primer. 

Finishing  Coat.  Requirements  and  Application:  Similar  to  that  described 
on  page  106,  as  applying  to  Structural  Steel  Construction,  with  the 
exception  of  the  shade,  which  should  be  a  rich  vermilion,  of  a  non¬ 
fading  character. 

Material :  Du  Pont  Fire  Equipment  Red,  made  especially  for  this  purpose. 

Note:  A  bright  yellow  sha«le  on  these  surfaces  is  also  good  practice,  for  the  reason  that  it 
makes  them  conspicuous  at  night.  For  this  use  Du  Pont  Motor  Truck  and  Wagon  Paint, 
Yellow — see  shade  in  supplement,  page  6. 


110 


' 


■ 


WHY  EXPERIMENT  WITH  UNKNOWN  BRANDS? 


Spreading  Capacity:  Approximately  600  to  700  square  feet,  per  gallon, 
one  coat. 


Surfaces  to  be  Repainted 

Application:  Follow  the  same  instructions  as  given  on  page  107  for 
Structural  Steel  Construction. 

Where  the  material  is  to  be  used  over  surfaces  previously  painted 
in  a  darker  shade,  two  coats  may  be  required,  although  the  material 
possesses  such  excellent  hiding  properties  that  one  coat  should  be 
sufficient. 

Material:  Du  Pont  Fire  Equipment  Red. 

For  trimming  purposes  on  new  work  or  on  surfaces  to  be  repainted 
contrasting  shades  may  be  used,  such  as  black,  yellow,  green  or 
aluminum. 

Material:  Du  Pont  Motor  Truck  and  Wagon  Paint  for  the  first  three 
shades;  Du  Pont  Aluminum  Paint  for  the  latter  finish.  These  trimming 
colors  should  be  applied  after  the  primer  has  thoroughly  dried.  On 
either  new  or  previously  painted  surfaces,  but  one  coat  is  usually 
required. 


FIRE  ESCAPES  AND  LADDERS 


These  surfaces  are  subject  to  hard  usage,  or  at  least  should  be  so  finished 
as  to  withstand  the  tread  of  feet  without  serious  injury. 


New  Surfaces 

Priming  Coat.  Requirements  and  Application:  Similar  to  those  of  Struc¬ 
tural  Steel  Construction,  page  105. 

Material:  Du  Pont  Kromate  Metal  Primer. 

Finishing  Coat.  Requirements:  A  hard,  durable  surface; 

Resistance  to  physical  contact; 

Imperviousness  to  moisture  and  dampness. 

Application :  See  that  the  primer  is  thoroughly  dry  and  the  surface  fr^ 
from  dust  and  dirt. 

Apply  the  material  as  received,  after  thorough  stirring.  Two  coa 
are  recommended. 

Brush  the  paint  out  well.  It  is  not  practicable  to  use  a  spraying 
machine,  owing  to  the  lack  of  a  continuous  surface  to  receive  the  paint. 

Material :  Du  Pont  Ferro-Keep.  See  shades  in  supplement,  page  6. 

Spreading  Capacity:  Approximately  600-700  sq.  ft.,  per  gallon,  one  coat. 


Ill 


PROPER  PREPARATION  OF  THE  SURFACE  IS  ESSENTIAL  FOR  GOOD  RESULTS 


Surfaces  Previously  Painted 

Finishing  Coat.  Requirements:  Same  as  those  stated  for  New  Surfaces. 

Application:  See  that  the  surface  is  dry  and  free  from  dust  and  dirt. 

All  scaling  paint  and  rust  spots  should  be  removed  by  wire-brushing. 

Stir  the  paint  thoroughly  and  brush  out  well. 

Allow  at  least  48  hours  between  coats  for  thorough  drying. 

Material:  Du  Pont  Ferro-Keep.  See  shades  in  supplement,  page  6. 

FIRE  DOORS 

These  are  generally  all  steel,  or  wood  with  a  tinned  surface. 

New  Surfaces 

Priming  Coat.  Requirements  and  Application:  Same  as  those  recom¬ 
mended  for  Structural  Steel  Construction,  page  105. 

Finishing  Coat.  Requirements: 

Durable  non-fading  surface; 

Resistance  to  physical  contact; 

Imperviousness  to  moisture; 

Sufficient  elasticity  to  prevent  cracking  and  peeling; 

Conspicuous  color  may  be  desirable. 

Application:  See  that  the  primer  is  dry  and  the  surface  free  from  dust 
and  dirt. 

Apply  the  material  as  received,  after  thorough  stirring. 

Brush  out  well.  If  applied  with  the  spray,  see  that  surface  is  fully 
covered. 

Generally,  but  one  coat  is  required,  although  2  coats  may  be  neces¬ 
sary.  Allow  at  least  48  hours  between  coats  for  drying. 

Material:  Du  Pont  Ferro-Keep,  see  shades  in  supplement,  page  6. 

Du  Pont  Fire  Equipment  Red  may  also  be  used,  if  desired.  The  section 
adjacent  to  the  handle  should  be  painted  Black  or  Dark  Green  to 
withstand  soiling  through  physical  handling. 

Spreading  Capacity:  Du  Pont  Ferro-Keep,  approximately  G00-700  sq. 
ft.,  per  gallon,  one  coat. 

Du  Pont  Fire  Equipment  Red,  approximately  600  to  700  sq.  ft.,  per 
gallon,  one  coat. 

Surfaces  Previously  Finished 

Finishing  Coats:  See  that  the  surface  is  clean  and  free  from  dust  and  dirt. 

The  section  of  the  door  coming  in  contact  with  hands  and  arms 
should  be  washed  with  benzine  to  remove  any  oily  substance  on  the 
surface. 


112 


ALLOW  AMPLE  TIME  FOR  THOROUGH  DRYING  BETWEEN  COATS 


Stir  thoroughly  and  brush  out  well.  If  applied  with  the  spray, 
see  that  all  parts  are  fully  covered. 

Two  coats  may  be  required.  Allow  at  least  48  hours  between  coats 
for  drying. 

Material:  Du  Pont  Ferro-Keep,  see  shades  in  supplement,  page  6. 
Where  a  color  other  than  black  is  used,  the  section  of  the  door  adjacent 
to  the  handle  should  be  painted  with  Ferro-Keep  Black  or  Dark  Green, 
to  prevent  finger-marking  and  soiling  of  the  surface. 

Spreading  Capacity:  Approximately  600-700  sq.  ft.,  per  gallon,  one  coat. 

HANDRAILS  AND  STEPS 

The  requirements  of  these  surfaces  are  similar.  Both  require  a  product 

exceptionally  elastic  and  durable,  since  both  surfaces  are  subject  to  physical 

contact. 

Requirements:  A  finish  that— 

Will  withstand  physical  contact  without  injury; 

Dries  with  a  durable,  yet  elastic,  surface; 

Is  impervious  to  moisture. 

New  Surfaces 

Application:  Refer  to  “Preparation  of  the  Surface,”  page  98,  and 
“Application  of  the  Material,”  page  101. 

Priming  Coat:  See  that  the  surface  is  dry  and  clean. 

Stir  contents  of  package  thoroughly. 

Brush  out  well.  The  use  of  a  spray  on  these  surfaces  is  not  recom¬ 
mended. 

Allow  at  least  48  hours  for  thorough  drying. 

Material :  Du  Pont  Kromate  Metal  Primer. 

Spreading  Capacity:  Approximately  600-700  sq.  ft.,  per  gallon,  one  coat. 

Finishing  Coats 

Application :  See  that  priming  coat  is  thoroughly  dry,  and  the  surface 
free  from  dust  and  dirt. 

Stir  the  material  thoroughly  and  brush  out  well. 

Allow  ample  time — at  least  48  hours — for  drying  before  permitting 
surfaces  to  be  used. 

Material:  Du  Pont  Ferro-Keep  on  handrails.  Du  Pont  Floor  and  Deck 
Paint  on  steps.  See  shades  in  supplement,  page  8. 

Spreading  Capacity:  Approximately  600-700  sq.  ft.,  per  gallon,  one  coat. 


113 


don’t  do  exterior  painting  in  wet  weather 


STEEL  TANKS  AND  TANK  SUPPORTS 

The  proper  protection  of  such  surfaces  is  a  serious  problem  in  many 
industries.  The  contents  of  the  tanks  frequently  have  a  disastrous  effect 
upon  the  wearing  and  protective  qualities  of  the  finishes  applied  to  them. 
Especially  is  this  true  where  the  tanks  contain  acids  or  other  mixtures 
which,  coming  frequently  in  direct  contact  with  the  surface,  destroy  the 
paint  coat  and  cause  rusting  to  proceed  with  great  rapidity. 

The  color  of  the  paint  used  on  the  exterior  of  tanks  containing  highly 
volatile  liquids  is  a  very  important  consideration.  Dark-colored  paints 
absorb  heat  rays  and  this  absorption  property  causes  considerable  loss  by 
evaporation  of  the  contents  of  the  tank.  Gloss  finishes  absorb  less  heat 
than  flat  paints,  inasmuch  as  they  reflect  much  of  the  light  that  comes  in 
contact  with  them. 

The  following  table  shows  the  rise  in  temperature  of  benzine  contained 
in  small  tanks  painted  in  various  colors  (gloss  finish),  when  subject  to  rays 
of  a  carbon  arc  light  for  15  minutes: 

Rise  in  degrees  F. 


Tin  Plate .  19.8 

Aluminum  Paint  20.5 

White  Paint .  22.5 

Light  Cream  Paint  23.0 

Light  Pink  “  .  23.7 

Light  Blue  "...  24.3 

Light  Gray  “  .  26.3 

Light  Green  “  . •  26.6 

Red  Iron  Oxide  Paint .  29.7 

Dark  Prussian  Blue  Paint .  36.7 

Dark  Chrome-Green  Paint .  39.9 

Black  Paint .  54.0 


" Light-Reflecting  Values  of  White  and  Colored  Pigments.  H.  A.  Gardner 

From  the  above  it  will  be  observed  that  plain  tin,  on  account  of  its 
smooth,  bright  surface,  gave  the  best  results.  Tin,  however,  rusts  rapidly 
unless  protected  by  paint,  so  that  it  is  not  a  practical  finish.  Aluminum 
paint  gave  very  good  results,  but  it  is  not  as  enduring  a  finish  as  a  lead  and 
zinc  linseed-oil  paint.  Where  possible  to  do  so,  therefore,  tanks  containing 
highly  volatile  liquids  should  be  painted  either  with  a  VY  hite  Gloss  Paint 
or  a  gloss  finish  of  one  of  the  lighter  tints. 

New  Surfaces 

Priming  Coat.  Requirements:  Refer  to  page  98,  “Preparation  of  the  Sur¬ 
face,”  and  page  101,  “Application  of  the  Material. 

Application:  Same  as  referred  to  for  Structural  Steel  Construction, 
page  105. 

Material:  Du  Pont  Kromate  Metal  Primer. 


114 


BE  SURE  THE  SURFACE  IS  DRY  BEFORE  APPLYING  THE  PAINT 


Spreading  Capacity:  An  average  of  600-700  sq.  ft.,  per  gallon,  one  coat. 

Finishing  Coats.  Requirements:  Same  as  for  Structural  Steel  Construc¬ 
tion,  page  106.  In  addition  acid  and  fume  resisting  properties  should  be 
considered. 

Application:  See  that  the  priming  coat  is  thoroughly  dry  and  the  surface 
clean  and  free  from  dust  and  dirt. 

Stir  the  material  thoroughly  and  brush  out  well. 

If  applied  with  the  spray,  see  that  the  priming  coat  is  fully  covered. 

Should  more  than  one  coat  be  desired,  allow  at  least  48  hours  for 
drying  of  first  coat. 

Material :  Depends  upon  the  color  desired,  and  the  conditions  the  surface 
must  withstand.  Many  industries  paint  certain  tanks  white.  Du  Pont 
Prepared  Paint,  Outside  White  is  suitable  for  this  purpose.  If  brushed 
on,  three  coats  may  be  required  for  perfect  hiding.  Two  coats  may 
cover  properly,  if  sprayed  on.  (See  Chapter  24  for  complete  informa¬ 
tion  on  spraying.) 

Tanks  containing  acids  should  be  painted  with  Du  Pont  Antoxide, 
of  the  shade  desired.  Antoxide  will  withstand  acid  contact  or  fumes 
to  a  better  degree  than  Ferro-Keep,  which  should  be  used  under 
normal  conditions.  See  shades  of  these  products  in  supplement, 
page  6. 

Steel  Tank  Supports  should  be  treated  in  the  same  manner  as  the 
tanks  themselves. 

Spreading  Capacity:  Du  Pont  Prepared  Paint,  Outside  White  will  cover 
an  average  of  350  to  400  sq.  ft.,  per  gallon,  two  coats;  or  250  to  300 
sq.  ft.,  three  coats. 

Du  Pont  Ferro-Keep  and  Du  Pont  Antoxide  will  cover  an  average 
of  300  to  350  sq.  ft.,  per  gallon,  two  coats. 

Previously  Painted  Surfaces 

Requirements:  Same  as  recommended  for  New  Surfaces. 

Application:  See  that  the  surface  to  be  painted  is  absolutely  clean  and 
free  from  dust  and  dirt.  Refer  to  page  98,  “Preparation  of  the 
Surface.” 

All  rust  spots  and  all  loose  or  peeling  paint  should  be  removed  with 
the  wire  brush  or  by  scraping.  Large  spaces,  where  the  paint  has 
peeled  or  has  been  removed  by  acid  contact,  should  be  touched  up 
with  the  Primer  and  allowed  to  dry. 

Stir  the  material  thoroughly  and  brush  out  well.  If  applied  with 
the  spray,  see  that  the  surface  is  covered  solidly.  Allow  at  least 
48  hours  for  the  first  coat  to  dry. 

Apply  second  coat  just  as  received,  after  thorough  stirring. 


115 


CONCRETE  AND  CEMENT  SURFACES  NEED  PROTECTION  THE  SAME  AS  WOOD  AND  METAL 


Material:  Same  as  recommended  for  finishing  coats  for  New  Surfaces. 

BRIDGES  AND  PASSAGEWAYS 

New  and  Previously  Painted  Surfaces — treat  same  as  recommended  for 
Structural  Steel  Construction,  pages  105-107. 

SUPPORTS  FOR  PIPE  LINES 

New  and  Previously  Painted  Surfaces— treat  same  as  recommended  for 
Structural  Steel  Construction,  pages  105-107. 

PIPE  LINES— UNCOVERED 
New  Surfaces 

Priming  Coat.  Requirements  and,  Application:  Same  as  recommended 
for  Structural  Steel  Construction,  page  105. 

Material:  Du  Pont  Kromate  Metal  Primer. 

Spreading  Capacity:  Approximately  600-700  sq.  ft.,  per  gallon,  one  coat. 

Finishing  Coat.  Requirements:  In  addition  to  general  requirements 
for  finishing  coat  work  as  referred  to  under  “Structural  Steel  Con¬ 
struction,”  page  106,  the  efficient  conduct  of  plants  having  numerous 
pipe  lines  calls  for  various  shades  for  identification  purposes. 

(See  Chapter  22,  page  165,  “Plant  Standardization  Systems.”) 

Application:  See  page  101,  “Application  of  the  Material.”  See  that  the 
priming  coat  is  thoroughly  dry  and  that  the  surface  is  free  from  dust 
and  dirt. 

Stir  the  material  thoroughly  and  brush  out  well.  It  is  not  practicable 
to  apply  paint  to  pipe  lines  by  spraying,  except  where  the  pipe  or 
pipes  are  of  sufficient  diameter  to  present  a  relatively  large  ex¬ 
panse  of  surface. 

If  more  than  one  coat  is  to  be  applied,  allow  at  least  48  hours  tor 
first  coat  to  dry. 

Apply  second  coat  as  furnished,  after  thorough  stirring. 

Material:  Du  Pont  Ferro-Keep  or  du  Pont  Antoxide.  See  shades  in 
supplement,  page  6.  If  a  wider  range  of  color  is  desired,  use  Du  Pont 
Prepared  Paint,  shades  in  supplement,  page  2. 

Spreading  Capacity:  Either  product  approximately  600-700  sq.  ft.,  per 
gallon,  one  coat. 

PIPE  LINES— COVERED 

These  are  invariably  those  conveying  steam  or  hot  water  and  are  usually 
covered  with  asbestos.  It  is  advisable  to  paint  the  outside  of  these  cover¬ 
ings  for  the  purpose  of  preventing  the  entrance  of  moisture  and  possible 
destruction  of  the  covering,  as  well  as  rusting  of  the  pipe  within. 


116 


PAINTING  IS  CHEAPER  THAN  REPLACEMENT 


New  Surfaces 

Priming  and  Finishing  Coats.  Requirements:  Should  preferably  be 
the  same  material; 

Present  a  weather-resisting  film; 

Be  unaffected  by  heat  that  may  enter  through  the  covering  from 
the  pipe  within. 

Priming  Coat.  Application:  See  that  the  surface  is  dry,  clean,  and  free 
from  dust  and  dirt.  Thin  the  material  with  turpentine  in  the  propor¬ 
tion  of  a  pint  to  the  gallon. 

Stir  thoroughly  and  brush  well  into  the  surface. 

Spray  application  may  be  used,  if  the  pipe  shows  a  sufficiently 
large  surface  to  make  spray  work  practicable.  See  that  the  surface 
is  completely  covered. 

Allow  at  least  48  hours  for  thorough  drying. 

Material:  Du  Pont  Ferro-Keep.  See  shades  on  page  6. 

Spreading  Capacity:  Approximately  600-700  sq.  ft.,  per  gallon,  one  coat. 

Note:  Du  Pont  Prepared  Paint  may  also  be  used  on  the  surfaces,  where  contrasting 
shades  are  desired.  See  Chapter  22,  page  165,  “Plant  Standardization  Systems.”  Shades 
shown  in  supplement,  pages  2  and  3. 

Finishing  Coat 

Application:  Refer  to  page  101, “Application  of  the  Material.”  See  that 
the  primer  is  thoroughly  dry,  and  that  the  surface  is  free  from  dust 
and  dirt. 

Stir  the  material  thoroughly  and  brush  well  into  the  surface. 

If  material  is  sprayed,  see  that  surface  is  fully  covered. 

Should  two  coats  be  applied  allow  at  least  48  hours  between  coats 
for  thorough  drying. 

Second  coat  to  be  applied  as  received,  after  thorough  stirring. 
Material:  Du  Pont  Ferro-Keep.  See  shades  in  supplement,  page  6. 
Spreading  Capacity:  Approximately  600-700  sq.  ft.,  per  gallon,  one  coat. 

Previously  Finished  Surfaces 

Finishing  Coat.  Requirements :  Same  as  for  New  Surfaces. 

Application:  Refer  to  page  101, “Application  of  the  Material.”  See  that 
the  surface  is  clean  and  dry. 

Do  not  attempt  to  apply  paint  over  a  section  of  the  covering  that 
has  been  exposed  to  the  atmosphere  and  saturated  with  moisture. 
Have  all  such  parts  repaired  and  dry  before  painting. 

Stir  material  thoroughly  and  brush  well  into  the  surface. 

If  applied  with  the  spray,  see  that  all  parts  are  fully  covered, 
Generally  but  one  coat  is  required. 

117 


STANDARDIZE  YOUR  PAINT  PURCHASES 


Material:  Du  Pont  Ferro-Keep.  See  shades  in  supplement,  page  6. 

Spreading  Capacity:  Approximately  600-700  sq.  ft.,  per  gallon,  one  coat. 

Note:  Du  Pont  Prepared  Paint  may  also  be  used  on  these  surfaces,  where  contrasting 
shades  are  desired.  See  Chapter  22,  page  165,  “Plant  Standardization  Systems.”  Shades 
shown  in  supplement,  pages  2  and  3. 


STEAM  OR  ELECTRIC  CRANES 
AND  CRANE  SUPPORTS 

New  and  Previously  Painted  Surfaces  should  be  treated  the  same  as 
recommended  for  “Structural  Steel  Construction,”  pages  105-107. 

SMOKESTACKS  AND  CHIMNEY  CONNECTIONS— 

NEW  SURFACES 

Priming  and  Finishing  Coat.  Requirements:  A  finish  that  will  with¬ 
stand  high  temperature  without  cracking  or  peeling; 

That  is  impervious  to  the  weather  and  atmospheric  condi¬ 
tions  and  gases; 

That  dries  with  a  durable,  elastic  finish. 

Priming  Coat.  Application:  Refer  to  page  101,  “Application  of  the 
Material.” 

The  paint  may  be  applied  while  the  stack  is  hot,  although  it  will 
wear  better  if  the  surface  is  cold. 

The  surface  must  be  dry  and  free  from  dust  and  dirt. 

Wipe  the  stack  with  a  cloth  moistened  with  turpentine  to  remove 
powdered  rust  and  dirt.  Then  paint  immediately  before  new  rust 
can  form. 

Stir  the  material  thoroughly  and  brush  out  well. 

If  material  is  sprayed,  see  that  surface  is  solidly  covered. 

Allow  at  least  48  hours  for  thorough  drying. 

Material:  Du  Pont  Smokestack  Paint — Black. 

Spreading  Capacity:  Approximately  500  sq.  ft.,  per  gallon,  one  coat. 

Finishing  Coat:  To  be  of  the  same  material,  applied  in  a  similar  manner. 
Usually  the  priming  coat  acts  as  the  finishing  coat,  except  where 
surface  is  in  bad  condition. 

VENTILATORS 

If  of  galvanized  iron,  proceed  as  recommended  on  page  107,  “Galvanized 
Iron  Roofs.” 

If  constructed  of  copper,  follow  method  prescribed  for  treatment  of 
copper  roofs,  page  109. 


118 


RUST  AND  DECAY  ARE  THE  ONLY  PERPETUAL  MOTION 


FACTORY  TRUCKS  AND  CARS,  TANK  CARS 

This  includes  motor  trucks — used  for  general  factory  hauling  as  well  as 

delivery  trucks — hand  trucks,  trailers  for  electric  locomotives,  etc.  Certain 

parts  of  these  are  usually  of  wood  construction. 

New  Steel  or  Metal  Surfaces 

Priming  Coat.  Requirements:  A  hard-drying,  elastic,  durable  surface. 

A  proper  foundation  for  succeeding  finishing  coats. 

Application :  Refer  to  page  98,  “Preparation  of  the  Surface,”  and  page  101 , 
“Application  of  the  Material.” 

See  that  the  surface  is  dry  and  thoroughly  clean. 

Stir  the  material  thoroughly  and  brush  out  well.  If  applied  with 
the  spray,  see  that  all  parts  are  fully  covered. 

Allow  at  least  48  hours  for  thorough  drying. 

Material:  Du  Pont  Kromate  Metal  Primer. 

Spreading  Capacity:  Approximately  600-700  sq.  ft.,  per  gallon,  one  coat. 

Steel  or  Metal  Surfaces 

Finishing  Coat.  Requirements:  Similar  to  requirements  for  Priming 
Coat,  in  addition  drying  with  a  hard,  glossy  surface; 

Resistance  to  physical  contact  to  an  unusual  degree; 

Imperviousness  to  moisture. 

Application:  Refer  to  page  101,  “Application  of  the  Material.” 

See  that  the  primer  is  dry  and  the  surface  free  from  dust  and  dirt. 

Stir  the  material  thoroughly.  Flow  on  smoothly,  similar  to  the 
application  of  varnish.  Do  not  brush  out  too  much. 

If  applied  with  the  spray,  see  that  the  surface  is  fully  covered. 

Should  a  light  shade  be  used,  two  coats  may  be  required.  Sand¬ 
paper  first  coat  lightly  after  allowing  24  hours  to  dry. 

Material:  Du  Pont  Motor  Truck  and  Wagon  Paint.  See  shades  in 
supplement,  page  6.  The  bright  shades  of  this  material  render  such 
surfaces  conspicuous — a  “Safety  First”  precaution. 

Spreading  Capacity:  Approximately  500  sq.  ft.,  per  gallon,  one  coat. 

Steel  or  Metal  Surfaces— Previously  Painted 

Finishing  Coat.  Requirements:  Similar  to  those  stated  for  New  Surfaces. 


119 


WHEN  DID  YOU  MAKE  THE  LAST  PAINT  INSPECTION? 


Application:  See  page  101,  “Application  of  the  Material.” 

See  that  the  surface  is  thoroughly  dry,  and  free  from  dust  and  dirt. 

Bodies  and  axles  should  be  washed  with  warm  water,  soap  and 
ammonia  to  remove  grease  and  rust.  Use  benzine  to  remove  oil. 
Rinse  with  cold  water.  Let  dry  24  hours,  then  sandpaper  and  dust 
carefully. 

Stir  material  thoroughly  and  apply  with  a  flat  varnish  brush,  flow¬ 
ing  it  on  to  a  smooth,  even  surface.  Do  not  brush  out  too  much.  (See 
application  of  Enamels,  page  61.) 

If  spray  is  used,  see  that  surface  is  fully  covered. 

Allow  at  least  48  hours  for  thorough  drying. 

If  two  coats  are  required  for  complete  coverage,  allow  24  hours  for 
the  first  coat  to  dry,  sandpaper  the  surface  and  dust  carefully,  and 
apply  the  second  coat  in  the  same  manner. 

Material:  Du  Pont  Motor  Truck  and  Wagon  Paint.  See  shades  in  supple¬ 
ment,  page  6. 

Spreading  Capacity:  Approximately  500  sq.  ft.,  per  gallon,  one  coat. 

New  Wood  Surfaces 

Special  priming  coat  unnecessary.  Apply  two  coats  of  material  for  final 
finishing,  following  directions  given  for  application  on  New  Steel  or  Metal 
Surfaces. 

Wood  Surfaces  Previously  Painted 

Follow  same  treatment  as  for  Steel  or  Metal  Surfaces. 

LOCOMOTIVES— ELECTRIC 

Mostly  of  steel  construction. 

Follow  directions  as  stated  for  New  and  Previously  Finished  Surfaces  of 
Motor  Trucks,  etc.  The  value  of  using  a  conspicuous  color  on  such  equip¬ 
ment  from  the  standpoint  of  safety  is  self-evident.  (See  additional  reference 
in  Chapter  22,  page  165,  “Plant  Standardization  Systems.”) 

LOCOMOTIVES— STEAM 

Since  these  are  generally  furnished  by  the  maker  in  a  fully  finished  con¬ 
dition,  there  is  little  necessity  for  finishing  new  surfaces.  Replacement 
parts  should  be  finished  same  as  recommended  for  “Previously  Finished 
Surfaces.” 


120 


PAINTING  IS  AN  INVESTMENT,  NOT  AN  EXPENSE 


Previously  Finished  Surfaces 

Finishing  Goat.  Requirements: 

Heat-resistance ; 

A  smooth,  glossy,  black  finish; 

Imperviousness  to  moisture; 

Resistance  to  abrasion; 

Rust-inhibitive. 

Application:  Refer  to  page  101,  “Application  of  the  Material.” 

See  that  the  surface  is  dry  and  clean. 

Grease  spots  should  be  removed  by  washing  with  benzine. 

Glossy  surfaces  should  be  rubbed  down  with  sandpaper. 

See  that  the  material  is  thoroughly  stirred  and  flowed  on  to  a  smooth, 
even  finish. 

Material:  Du  Pont  Locomotive  Black. 

Spreading  Capacity:  Approximately  500  sq.  ft.,  per  gallon,  one  coat. 

For  the  front  ends  of  locomotives — Du  Pont  Front  End  Black. 
Similar  to  Locomotive  Black,  but  will  withstand  higher  temperatures. 

STEEL  DRUMS  AND  CONTAINERS 

These  are  painted  in  various  shades,  black  predominating.  For  purposes 
of  identification,  certain  sections  of  the  drums  are  finished  in  contrasting 
colors.  The  portion  to  receive  this  treatment  and  the  colors  used  depend 
upon  the  personal  preference  of  the  owner. 

New  Surfaces 

Priming  Coat.  Requirements :  In  addition  to  the  characteristics  of  a 
successful  primer  as  referred  to  under  “Structural  Steel  Construction,” 
page  105,  the  priming  coat  should — 

Resist  strains  and  stress; 

Withstand  abrasion. 

Application:  Similar  to  that  referred  to  under  “Structural  Steel  Con¬ 
struction,”  page  105. 

Material:  Du  Pont  Kromate  Metal  Primer. 

Spreading  Capacity:  Approximately  600-700  sq.  ft.,  per  gallon,  one  coat. 
Finishing  Coat.  Requirements :  Supreme  resistance  to  physical  contact. 
Unusual  elasticity. 

Durable,  gloss  finish. 

Hard,  smooth  surface. 

Non-fading  contrasting  colors. 


GOOD  LIGHTING  DOES  NOT  DEPEND  SOLELY  UPON  DIRECT  ILLUMINATION 


Application :  See  that  the  priming  coat  is  thoroughly  dry  and  that  the 

surface  is  free  from  dust  and  dirt. 

Stir  the  material  thoroughly  and  brush  out  well. 

If  applied  with  the  spray,  see  that  all  parts  are  fully  covered. 

If  black  is  used  for  the  body  of  the  barrel,  and  the  contrasting  color 
be  of  a  lighter  shade,  it  is  best  not  to  apply  the  black  to  the  section 
that  will  be  later  covered  by  the  lighter  color,  as  it  may  require  two 
coats  of  the  identifying  material  to  fully  hide  the  primer. 

Allow  sufficient  time,  at  least  48  hours,  between  coats  for  thorough 
drying. 

Material:  Du  Pont  Acid-Resisting  Black,  if  a  rich,  intense,  durable  black 
is  desired.  For  other  shades,  Du  Pont  Antoxide.  See  colors  in  supple¬ 
ment,  page  6. 

The  contrasting  material  should  be  of  an  enamel  character.  Du  Pont 
Motor  Truck  and  Wagon  Paint  should  be  used.  See  shades  in  supple¬ 
ment,  page  6. 

Spreading  Capacity:  Du  Pont  Acid-Resisting  Black,  500  sq.  ft.,  per 
gallon. 

Du  Pont  Antoxide,  600-700  sq.  ft.,  per  gallon. 

Du  Pont  Motor  Truck  and  Wagon  Paint,  500  sq.  ft.,  per  gallon.  All 
for  one-coat  work. 

Surfaces  Previously  Finished 

Application:  See  that  the  surface  is  dry  and  free  from  dust  and  dirt. 

All  rust  spots  and  loose  and  scaling  paint  should  be  removed  with 
the  wire  brush. 

Grease  spots  and  oily  surfaces  should  be  washed  with  benzine. 

Brush  material  out  well,  after  thorough  stirring.  If  applied  with 
the  spray,  see  that  all  parts  of  the  surface  are  covered. 

Follow  same  directions  as  given  previously  regarding  the  application 
of  the  contrasting  shade. 

Material:  Same  as  referred  to  previously  for  New  Surfaces. 

METAL  SURFACES  NOT  OTHERWISE  MENTIONED 

The  foregoing  pages  cover  the  treatment  of  most  of  the  usual  types  of 
exterior  metal  surfaces  found  in  industrial  plants.  There  are  many  others 
peculiar  to  each  industry,  which  cannot  be  covered  in  detail  here.  The 
suggestions  given,  however,  should  be  sufficient  guidance  for  the  pres¬ 
ervation  of  practically  all  metal  surfaces  used  in  exterior  maintenance  of 
plant  and  equipment. 


122 


WHAT  IS  THE  LIGHT-REFLECTING  VALUE  OF  YOUR  WALLS  AND  CEILINGS? 


Chapter  17 

INTERIOR  METAL  SURFACES 

The  conditions  which  interior  metal  surfaces  are  called  upon  to  with¬ 
stand  are  frequently  severe.  They  are  subject  to  the  same  destructive 
agencies  as  beset  exterior  metal  surfaces,  although  the  forms  in  which 
attacking  forces  exist  may  be  different.  Their  preservation  should  be  a 
matter  of  concern  to  every  plant  superintendent. 

The  conditions  in  each  industry  should  be  analyzed  and  the  finish  used 
be  such  as  will  give  the  best  protection  under  the  circumstances.  The 
following  should  be  sufficient  guidance  for  the  protection  and  preservation 
of  most  of  the  types  of  interior  metal  surfaces  found  in  industrial  plants. 

METAL  WALLS  AND  CEILINGS 

These  are  usually  of  but  two  kinds:  Galvanized  iron  for  general  industrial 
plant  use  and  stamped  metal  for  office  use. 

Galvanized  Iron 

The  interior  surfaces  of  galvanized  iron  are  just  as  susceptible  to  rust 
and  corrosion  from  various  causes  as  those  exposed  to  the  atmosphere. 
Condensation  of  moisture,  and  contact  with  soot,  smoke,  gas  and  acid 
fumes  is  very  destructive,  and  unless  the  surface  is  protected  with  a  film  of 
paint,  decay  is  inevitable. 

New  Surfaces 

Priming  Coat.  Requirements,  Application  and  Material:  Same  as  recom¬ 
mended  for  Exterior  Galvanized  Iron  Surfaces,  page  107. 

Finishing  Coat.  Requirements  and  Application:  Same  as  recommended 
for  Exterior  Galvanized  Iron  Surfaces,  page  108. 

Material:  For  finishing  coats,  Du  Pont  Ferro-Keep  under  normal  con¬ 
ditions. 

Du  Pont  Antoxide,  in  the  presence  of  acid  fumes,  and  cases  of 
extreme  moisture.  The  character  of  this  material  makes  it  more 
resistant  to  these  forces  than  Ferro-Keep.  See  supplement,  page  6, 
for  colors. 

Spreading  Capacity:  Approximately  600-700  sq.  ft.,  per  gallon,  one  coat, 
for  both  products. 

Note:  Where  it  is  possible  to  use  White  on  such  surfaces,  refer  to  Chapter 
21,  page  149,  on  the  use  of  Mill  Whites. 


123 


BETTER  LIGHTING  INCREASES  PRODUCTION  FROM  G  TO  12% 


Surfaces  Previously  Finished 
Finishing  Coat 

Requirements:  Same  as  for  New  Surfaces. 

Application:  See  that  t lie  surface  is  clean  and  free  from  deposits  of  soot, 
dust,  etc.  It  should  also  be  perfectly  dry. 

All  loose  paint  or  paint  that  is  scaling  should  be  taken  off  with  a 
wire  brush. 

Rust  spots  should  be  wire-brushed  and  dusted. 

The  material  should  be  applied  as  received,  after  thorough  stirring. 

Brush  out  well.  If  applied  with  the  spray,  see  that  the  surface  is 
well  covered. 

If  two  coats  are  to  be  applied,  allow  at  least  48  hours  between  coats 
for  drying. 

Material:  Du  Pont  Ferro-Keep  or  Antoxide — see  New  Surfaces. 

Note:  For  maximum  light -reflection,  see  reasons  for  the  use  of  Mill  Whites 
in  Chapter  21,  page  149. 

Dado  Finishes:  Where  walls  are  finished  white,  a  4  or  5-foot  Dado  of  a 
darker  shade  should  be  made,  in  order  to  prevent  soiling  and  finger¬ 
marking.  For  this  use  Du  Pont  Dado  Enamel,  applied  as  referred  to 
under  “Interior  Wood  Surfaces,”  on  page  83.  See  colors  in  supple¬ 
ment,  page  8. 

Stamped  Metal  Walls  and  Ceilings 

On  this  character  of  surface  a  flat,  semi-gloss,  gloss  or  enamel  finish  may 

be  used.  This  construction  is  usually  found  only  in  offices. 


New  Surfaces 

Requirements:  Close  adherence  to  the  metal; 

Freedom  from  chipping  and  scaling; 

Sufficient  elasticity  to  prevent  cracking; 

Maximum  light-reflecting  value. 

See  Chapter  21,  page  149,  on  Mill  Whites. 

Application :  Refer  to  page  98, “Preparation  of  the  Surface, ’’and  page  101, 
“Application  of  the  Material.” 

The  application  will  vary  with  the  character  of  the  finish  desired. 


124 


DAYLIGHT  IS  THE  CHEAPEST  LIGHT 


FLAT  FINISH:  See  that  the  surface  is  dry,  clean  and  free  from  dust 
and  dirt. 

Oily  or  greasy  surfaces  should  be  washed  with  benzine. 

Apply  the  material  as  received,  after  thorough  stirring. 

Do  not  brush  out  too  much.  If  applied  with  the  spray,  see  that  the 
surface  is  well  covered. 

If  thinning  is  necessary,  use  pure  turpentine. 

Allow  at  least  48  hours  for  drying. 

Apply  second  or  finishing  coat  in  the  same  manner  as  preceding  coat. 

Material:  Du  Pont  Du-Lite  Flat,  fully  described  in  Chapter  21,  page  157. 

Du  Pont  Flat  Wall  Paint,  see  shades  in  supplement,  page  4. 

Spreading  Capacity:  Du  Pont  Du-Lite  Flat  or  Du  Pont  Wall  Paint, 
approximately  300  to  350  sq.  ft.,  per  gallon,  two  coats. 

SEMI-GLOSS  FINISH:  See  Chapter  21,  page  158,  on  the  use  of  Du-Lite 
Egg-Shell  Gloss. 

GLOSS  FINISH:  Follow  instructions  given  under  Flat  Finish  for  “Prep¬ 
aration  of  the  Surface.” 

Thin  the  first  coat  with  turpentine  in  the  proportion  of  a  pint  to 
the  gallon  of  paint. 

Allow  at  least  48  hours  for  drying. 

Apply  second  coat  as  the  material  is  received,  after  thorough 
stirring. 

Apply  both  coats  evenly;  do  not  brush  out  too  much. 

If  the  spray  is  used,  see  that  surface  is  fully  covered 

Material:  Du  Pont  Du-Lite  Gloss,  see  Chapter  21  on  Mill  Whites. 

Du  Pont  Prepared  Paint,  see  shades  in  supplement,  page  2. 

Spreading  Capacity:  Approximately  300  to  350  sq.  ft.,  per  gallon,  two 
coats. 

ENAMEL  FINISH:  Follow  instructions  given  under  “Flat  Finish”  for 
preparation  of  the  surface. 

See  instructions  given  under  “Interior  Wood  Finishing,”  page  81, 
for  building  up  the  surface  with  enamel  undercoats,  and  the  application 
of  enamel. 

Material:  Du  Pont  Flow-Kote  Enamel,  for  finest  porcelain-like  effect. 

Du  Pont  Interior  Decorative  Enamel,  for  a  high-grade,  medium- 
priced  job. 

Du  Pont  Sanitary  Gloss  Enamel,  where  first  cost  is  main  con¬ 
sideration. 

Spreading  Capacity:  Approximately  600  sq.  ft.,  per  gallon,  one  coat. 


125 


CHEAP  PAINT  COSTS  TOO  MUCH  TO  USE 


Surfaces  Previously  Finished 
Finishing  Coat 

Requirements:  Same  as  recommended  for  New  Surfaces. 

Application:  See  that  the  surface  is  dry  and  free  from  dust  and  dirt. 

Any  portion  of  the  surface  subject  to  physical  contact  should  be 
washed  with  benzine. 

Glossy  spots  or  surfaces  should  be  sandpapered  and  carefully  dusted. 

Apply  the  material  as  received,  after  thorough  stirring. 

Should  two  coats  be  required,  allow  at  least  48  hours  for  first  coat 
to  dry.  Sandpaper  lightly,  if  a  glossy  surface,  dust  and  apply  the 
second  coat,  after  thorough  stirring. 

Material:  Depends  upon  the  finish  desired.  See  recommendations  for 
finishing  coats  on  New  Surfaces. 

Dado 

Should  it  be  desirable  to  finish  the  lower  portions  of  the  wall  in  a  dado 

effect,  follow  directions  for  applying  the  material  as  given  on  page  83, 

“Interior  Wood  Surfaces.” 

STEEL  GIRDERS,  BEAMS  AND  THEIR  SUPPORTS— 

NEW  SURFACES 

Priming  Coat.  Requirements  and  Application:  Same  as  for  Structural 
Steel  Construction,  page  105. 

Material:  Du  Pont  Kromate  Metal  Primer. 

Spreading  Capacity:  Approximately  600-700  sq.  ft.,  per  gallon,  one  coat. 

Finishing  Coat.  Requirements:  Under  ordinary  circumstances,  the 
same  as  recommended  for  Structural  Steel  Construction,  page  106. 

In  the  presence  of  gas  or  acid  fumes  or  excessive  moisture,  the  finish¬ 
ing  coat  should  possess  a  more  impermeable  film,  that  will  offer 
resistance  a  maximum  length  of  time. 

Material:  Du  Pont  Ferro-Keep  under  ordinary  conditions.  See  shades 
in  supplement,  page  6. 

Du  Pont  Antoxide  to  meet  abnormal  conditions.  See  shades  in 
supplement,  page  6. 

Du  Pont  Du-Lite,  where  possible  to  use,  and  as  a  light-reflecting 
factor.  See  Chapter  21,  page  149. 


126 


. 


. 


' 


- 


/ 


TIME  IS  THE  ONLY  TEST  OF  THE  QUALITY  OF  PAINT  AND  VARNISH 


Dado:  If  a  dado  is  desired  on  the  lower  portion  of  uprights,  follow  direc¬ 
tions  for  applying  the  dado  finish  as  given  on  page  83  for  Interior 
Wood  Finishing. 

Surfaces  Previously  Finished 

Finishing  Coat.  Requirements:  Same  as  recommended  for  New  Surfaces. 

Application :  See  that  all  soot,  dust  and  dirt  are  removed  and  the  surface 
is  perfectly  dry. 

All  greasy  surfaces  should  be  washed  with  benzine. 

Loose  or  scaling  paint  and  rust  spots  should  be  wire-brushed. 

Large  rust  spots  should  be  given  a  coat  of  Primer  and  the  surface 
allowed  to  dry  before  repainting. 

Apply  the  material  as  received,  after  thorough  stirring. 

Material:  Du  Pont  Ferro-Keep  or  Du  Pont  Antoxide,  depending  upon 
conditions  to  be  met.  See  recommendations  for  New  Surfaces. 

Spreading  Capacity:  Approximately  600-700  sq.  ft.,  per  gallon,  one 
coat,  each  product. 

ELECTRIC  CONDUITS  AND  SWITCH  BOXES, 
INDICATOR  TUBING. 

NEW  SURFACES 

Priming  Coat.  Requirements  and  Application:  Similar  to  “Structural 
Steel  Construction,”  page  105. 

Material:  Du  Pont  Kromate  Metal  Primer. 

Finishing  Coat.  Requirements:  Similar  to  “Structural  Steel  Construc¬ 
tion,”  page  106.  In  addition  it  should  be  a  non-conductor  of  electricity. 

Application:  Same  as  recommended  for  Structural  Steel  Construction, 
page  106. 

Material:  Du  Pont  Ferro-Keep,  see  shades  in  supplement,  page  6. 

Du  Pont  Motor  Truck  and  Wagon  Paint,  if  an  enamel  finish  is 
desired  or  for  purposes  of  identification.  See  shades  in  supplement, 
page  6. 

Surfaces  Previously  Painted 

Finishing  Coat.  Requirements:  Same  as  stated  for  New  Surfaces. 

Application :  See  that  the  surface  is  clean  and  dry. 

All  loose  particles  of  paint  and  rust  spots  should  be  wire-brushed  and 
the  surface  dusted. 


GOOD  PAINT  AND  VARNISH  HOLDS  DOWN  UPKEEP  COST 


Glossy  surfaces  should  he  sandpapered  and  dusted. 

Greasy  or  oily  surfaces  should  be  washed  with  benzine. 

Stir  the  material  thoroughly  and  flow  on  to  a  smooth  even  finish. 

The  nature  of  these  surfaces  makes  spraying  impracticable. 

Material:  Same  as  recommended  for  New  Surfaces. 

Note:  Black  is  the  color  most  generally  used  for  this  work. 

An  identification  mark  of  some  contrasting  shade  is  a  good  plan  in 
finishing  switch  boxes  or  other  electrical  equipment.  See  Chapter  22, 
“Plant  Standardization  Systems.” 

SPRINKLER  SYSTEMS 

It  is  important  that  these  be  painted,  although  extreme  care  should  be 
exercised  to  see  that  neither  the  little  lead  strip  that  seals  the  sprinkler 
head,  nor  the  head  itself,  receives  any  of  the  paint.  This  is  extremely  impor¬ 
tant.  Otherwise,  the  paint  may  clog  the  head  and  the  system  fail  to  act 
when  necessary. 

This  system  of  piping  may  be  finished  along  with  the  ceiling,  if  the  spray 
machine  is  used.  If  this  is  done,  however,  the  value  of  an  identification 
color  for  the  piping  is,  of  course,  lost. 

New  Surfaces 

Priming  Coat.  Requirements  and  Application:  Same  as  recommended 
for  Structural  Steel  Construction,  page  105. 

Material:  Du  Pont  Kromate  Metal  Primer. 

Finishing  Coats.  Requirements  and  Application:  Same  as  for  Structural 
Steel  Construction,  page  106. 

Material:  This  depends  upon  the  system  employed  for  piping  identifica¬ 
tion.  (See  Chapter  22,  “Plant  Standardization  Systems.”)  Red  is 
used  for  finishing  coats  in  many  plants.  Du  Pont  Fire  Equipment 
Red  is  recommended. 

Du  Pont  Ferro-Iveep,  under  normal  conditions.  See  shades  in 
supplement,  page  6. 

Du  Pont  Antoxide  where  extreme  moisture  or  acid-fume  conditions 
prevail.  See  shades  in  supplement,  page  6. 

A  suitable  Red  is  included  in  the  colors  of  each  product. 

Spreading  Capacity:  Approximately  600-700  sq.  ft.,  per  gallon,  one  coat. 


128 


LET  THE  PAINT  MANUFACTURER  SOLVE  YOUR  PAINT  PROBLEMS 


Surfaces  Previously  Painted 

Finishing  Coat.  Requirements:  Same  as  for  New  Surfaces. 

Application:  See  that  the  surface  is  perfectly  dry  and  free  from  dust 
and  dirt. 

Loose  paint  and  rust  spots  should  be  wire-brushed. 

Stir  the  material  thoroughly  and  brush  out  well. 

It  is  not  practicable  to  spray  these  surfaces,  although  they  may  be 
painted  with  the  spray  machine,  while  applying  the  finish  to  the 
ceiling. 

Material:  Same  as  recommended  for  New  Surfaces. 

Spreading  Capacity:  Approximately  600-700  sq.  ft.,  per  gallon,  one  coat. 

PIPING  SYSTEMS 

This  is  fully  covered  under  “Plant  Standardization  Systems,”  Chapter 

22,  page  165. 


FIRE  EQUIPMENT 

Doors,  Buckets,  Extinguishers,  Valves,  High-Pressure 

Lines,  Sand  Buckets 

Material.  Requirements  and  Application:  Same  as  recommended  for 
Exterior  Fire  Equipment,  page  110. 

Where  fire  doors  are  painted  with  the  same  material  as  other  fire  equip¬ 
ment,  apply  either  a  black  or  a  dark  green  protective  coat  adjacent  to  the 
door  handle,  to  prevent  marking  and  soiling.  Use  Du  Pont  Ferro-Keep 
for  the  purpose.  See  shades  in  supplement,  page  6. 

Sand  buckets  are  usually  painted  a  different  color  from  other  fire  equip¬ 
ment.  See  Chapter  22,  page  165,  “Plant  Standardization  Systems.” 

MACHINERY 

New  machinery  is  usually  furnished  already  painted  on  such  parts  as 
are  customary  to  be  finished  with  paint.  Painting  old  machinery  or  repaint¬ 
ing  new  machines  in  light  colors  is  worthy  of  favorable  consideration  on 
account  of  its  value  from  an  operating  standpoint. 

A  paint  for  machinery  should  dry  with  a  hard,  durable,  smooth,  though 
not  glossy  surface.  It  should  not  mar  easily,  may  be  washed  without 


» 


129 


A  PAINT  FILM  IS  ONLY  1/500TH  OF  AN  INCH  IN  THICKNESS 


injury  and  should  be  resistant  to  contact  with  dirt,  oil,  grease  and  the  like. 
Proper  lighting  is  often  difficult  to  accomplish  about  complicated  machines, 
so  that  the  adoption  of  light  colors  for  all  machinery  adds  much  to  the 
light-reflection  value  of  the  environment. 

Many  plants  which  have  followed  this  suggestion  have  found  that  the 
employees  do  more  and  better  work  with  less  fatigue;  that  labor  costs  are 
lower,  accidents  are  fewer  and  the  operatives  take  greater  interest  in  their 
work  and  their  machines.  They  hesitate  to  permit  an  attractively-finished 
machine  to  become  covered  with  dirt,  oil,  grease,  etc.,  as  is  frequently  the 
case  when  machines  are  finished  in  dark  colors. 

New  Surfaces 

Priming  Coat:  Such  new  parts,  if  rough,  should  be  prepared  for  finishing 
coats  with  a  filler.  This  material  comes  in  paste  form;  should  be 
thinned  for  brushing  with  benzine  to  the  consistency  of  thick  cream. 
It  may  be  applied  in  its  original  state  with  a  knife  and  smoothed 
down  to  an  even  surface.  Allow  at  least  six  hours  for  drying.  Then 
sandpaper  the  surface,  dust  and  apply  the  finishing  coats  as  directed 
under  “Previously  Finished  Surfaces.”  See  below. 

Material:  Du  Pont  Machinery  and  Engine  Fillers.  Made  in  Black, 
Maroon  and  White. 

Previously  Finished  Surfaces 

The  treatment  of  these  surfaces  depends  upon  the  nature  of  the  finish, 
the  conditions  to  be  met. 

Finishing  Coat.  Requirements: 

Imperviousness  to  moisture; 

Resistance  to  oil  penetration; 

Withstanding  physical  contact; 

Drying  rapidly  with  a  smooth,  even  finish; 

Unaffected  by  reasonable  degrees  of  heat; 

-  Possessing  certain  light-reflecting  qualities. 

Application :  See  that  the  surface  is  perfectly  dry,  and  free  from  dust 
and  dirt. 

All  uneven  places  or  holes  in  the  surface  should  be  evened  up  with 
the  use  of  the  filler  as  recommended  under  New  Surfaces. 

Stir  the  material  until  perfectly  smooth. 

Apply  with  a  fine  bristle  brush;  flowing  it  on  to  a  smooth,  even 
finish. 


130 


WHY  EXPERIMENT  WITH  UNKNOWN  BRANDS? 


If  applied  with  the  spray,  see  that  all  portions  are  well  covered. 

If  the  material  is  too  heavy,  thin  with  the  liquid  recommended  by 
the  manufacturer. 

Should  two  coats  of  enamel  be  required,  sandpaper  the  first  coat 
when  dry,  dust  carefully,  and  apply  the  second  coat  in  the  same 
manner  as  the  first. 

Material:  The  proper  material  to  use  depends  upon  the  finish  desired. 

■  If  a  flat  finish  is  required,  use  Du  Pont  Oil-Resisting  Flat  Machinery 
Enamel.  Made  in  Light  Steel,  Dark  Steel,  Black  and  Wine  Color. 

For  an  egg-shell  gloss,  use  Du  Pont  Oil-Resisting  Egg-Shell  Gloss 
Enamel.  Made  in  the  above  colors  in  addition  to  White. 

A  high  gloss  finish  may  be  produced  with  Du  Pont  High  Gloss 
Machinery  Enamel.  See  shades  in  supplement,  page  8. 

Du  Pont  Motor  Truck  and  Wagon  Paint  is  also  recommended  for 
variety  in  shades.  See  shades  in  supplement,  page  6. 

Should  it  be  desired  to  prepare  the  material  from  a  paste  base,  then 
Du  Pont  Machinery  Paint  is  recommended.  This  may  be  manipulated, 
according  to  the  thinner  used,  to  produce  a  flat,  egg-shell  or  a  high 
gloss  finish.  Supplied  in  Light  Lead,  Lead,  Dark  Lead,  Black  and 
Maroon. 

Du  Pont  Aluminum  Paint  will  produce  a  satisfactory  aluminum 
finish. 

Spreading  Capacity  of  these  products  cannot  be  estimated,  as  it  depends 
on  many  factors  beyond  the  control  of  the  manufacturer. 

MACHINERY  GUARDS 
New  Surfaces 

Priming  Coat.  Requirements  and  Application:  Same  as  for  Structural 
Steel  Construction,  page  105. 

Material:  Du  Pont  Kromate  Metal  Primer. 

In  certain  cases,  priming  and  finishing  coats  may  be  the  same 
material.  See  “Finishing  Coats.” 

Finishing  Coats.  Requirements: 

Resistant  to  abrasion; 

Elastic  and  durable; 

Drying  with  a  hard,  smooth  surface. 


131 


STANDARDIZE  YOUR  PAINT  PURCHASES 


Application:  See  that  the  surface  is  dry  and  perfectly  clean. 

Stir  the  material  thoroughly  and  brush  out  well. 

If  two  coats  are  required,  allow  at  least  48  hours  between  coats 
for  drying. 

Material:  This  depends  upon  the  effect  desired.  If  the  guards  are  to  be 
made  conspicuous,  use  Du  Pont  Motor  Truck  and  Wagon  Paint  or 
Du  Pont  Colored  Enamels.  See  shades  in  supplement,  page  6. 

Du  Pont  Aluminum  Paint  is  also  recommended,  the  first  coat  acting 
also  as  a  primer  on  new,  clean  surfaces. 

If  acid  or  acid  fumes  are  present,  Du  Pont  Acid-Resisting  Paint  is 
recommended.  This  is  furnished  only  in  Black.  It  may  act  as  both 
priming  and  finishing  coats. 

Du  Pont  Antoxide  or  Du  Pont  Ferro-Keep  may  also  be  used  on  such 
surfaces.  See  shades  in  supplement,  page  6. 

Previously  Finished  Surfaces 

Finishing  Coat.  Requirements:  Same  as  for  New  Surfaces. 

Application:  Remove  oil  or  grease  by  washing  with  benzine.  Other 
directions  the  same  as  for  New  Surfaces 

Material:  Same  as  for  New  Surfaces. 

WASTE  CANS 

These  cans  should  be  painted  in  a  way  that  will  make  them  conspicuous. 

Since  they  are  generally  furnished  in  galvanized  iron,  the  requirements  and 

application  of  the  priming  coat  on  new  surfaces  are  the  same  as  for  galvan¬ 
ized  iron  “Interior  Walls  and  Ceilings,”  page  123. 

Material:  Du  Pont  Kromate  Metal  Primer. 

Finishing  Coat.  Requirements: 

A  conspicuous  color; 

Durable,  hard-drying  finish; 

Resistant  to  abrasion. 

Application :  See  that  the  primer  is  dry  and  the  surface  clean. 

Stir  the  material  thoroughly  and  flow  on  in  a  smooth,  even  coat. 

If  a  spray  is  used,  see  that  surface  is  fully  covered. 

Allow  at  least  48  hours  for  drying  before  using. 

Material:  Du  Pont  Colored  Enamels  or  Du  Pont  Motor  Truck  and  Wagon 
Paint.  See  shades  in  supplement,  page  6.  If  a  darker,  inconspicuous 
color  is  wanted,  use  Du  Pont  Ferro-Keep.  See  shades  in  supplement, 
page  6. 


132 


RUST  AND  DECAY  ARE  THE  ONLY  PERPETUAL  MOTION 


Previously  Finished  Surfaces 

Finishing  Coat.  Requirements:  Same  as  for  New  Surfaces. 

Application:  The  surface  should  be  perfectly  dry  and  clean. 

Grease  and  oil  should  be  removed  with  benzine. 

Otherwise  the  treatment  is  the  same  as  for  New  Surfaces. 

Material:  Same  as  for  New  Surfaces. 

DRINKING  WATER  TANKS 

Follow  the  same  treatment  as  that  prescribed  for  Waste  Cans. 

RAW  MATERIAL  TANKS— TANKS 
FOR  OTHER  PURPOSES 

The  character  of  the  contents  has  a  direct  bearing  upon  the  method  of 
finishing  and  the  material  employed.  Frequently  they  are  subject  to 
spillage  and  leakage  to  the  detriment  of  the  protective  qualities  of  the  paint. 

New  Surfaces 

Priming  Coat.  Requirements  and  Application:  The  same  as  directed 
under  “Structural  Steel  Construction,”  page  105. 

Material:  Du  Pont  Kromate  Metal  Primer. 

Spreading  Capacity:  Approximately  600-700  sq.  ft.,  per  gallon,  one  coat. 

Finishing  Coat.  Requirements: 

Imperviousness  to  moisture; 

Resistance  to  acid  contact; 

A  hard,  durable  finish: 

Sufficient  elasticity  to  prevent  cracking  and  peeling. 

Application:  See  that  the  priming  coat  is  dry  and  that  the  surface  is 
perfectly  clean. 

Stir  the  material  thoroughly  and  brush  out  well. 

If  finished  with  an  enamel,  flow  out  to  a  smooth,  even  surface. 
Should  a  spray  be  used,  see  that  the  surface  is  fully  covered. 

Allow  at  least  48  hours  for  the  first  coat  to  dry,  should  two  coats 
be  required. 

Material :  DuPont  Acid-Resisting  Black, where  acid-resistance  is  necessary. 
Du  Pont  Antoxide — in  the  presence  of  extreme  moisture  or  mild 
acid  fumes.  See  shades  in  supplement,  page  6. 


133 


WHEN  DID  YOU  MAKE  THE  LAST  PAINT  INSPECTION? 


Du  Pont  Machinery  Enamels,  see  page  129  on  Machinery  Finishes. 

Du  Pont  Motor  Truck  and  Wagon  Paint,  see  shades  in  supplement, 
page  6. 

Finishing  Coats.  Requirements  and  Application:  Similar  to  the  above, 
in  addition  to  the  following: 

Du  Pont  Machinery  Enamels,  see  page  8  in  supplement. 

Du  Pont  Motor  Truck  and  Wagon  Paint,  see  shades  in  supplement, 
page  6. 

Surfaces  Previously  Finished 

Finishing  Coats.  Requirements  and  Application:  Similar  to  the  above, 
in  addition  to  the  following: 

All  loose  or  scaling  paint  and  all  rust  spots  to  be  wire-brushed  and 
the  surface  carefully  dusted. 

Remove  grease  and  oil  by  washing  with  benzine. 

Material:  Same  as  above. 

Spreading  Capacity:  Acid-Resisting  Black  —  approximately  500  sq.  ft., 
per  gallon,  one  coat. 

Du  Pont  Antoxide — approximately  600-700  sq.  ft.,  per  gallon,  one 
coat. 

Du  Pont  Machinery  Enamel  and  Du  Pont  Motor  Truck  and  Wagon 
Paint,  approximately  500  to  600  sq.  ft.,  per  gallon,  one  coat. 

FACTORY  HAND  OR  MOTOR  TRUCKS 

Same  treatment  as  recommended  for  Factory  Trucks  and  Cars,  page  118. 


MOTORS,  PUMPS,  STEAM  ENGINES,  STEAM 

TURBINES,  ETC. 


These  objects  are  subject  to  practically  the  same  conditions  as  “Machin¬ 
ery,”  and  should  be  treated  in  the  same  manner. 


ELEVATORS  AND  ELEVATOR  SHAFTS, 
GATES,  ETC. 


The  most  important  qualification  of  a  paint  for  these  surfaces  is  resistance 
to  physical  contact. 

New  or  previously  finished  surfaces  should  be  treated  the  same  as 
recommended  for  Structural  Steel  Construction,  page  105. 


134 


PAINTING  IS  AN  INVESTMENT,  NOT  AN  EXPENSE 


The  Elevator  Gates  may  be  made  conspicuous  by  the  use  of  a  bright 
color.  See  “Plant  Standardization  Systems,”  page  165. 

For  this  purpose  Du  Pont  Motor  Truck  and  Wagon  Paint,  applied  as 
directed  on  page  118,  “Factory  Trucks  and  Cars.” 

BOILER  FRONTS  AND  BOILER  CONNECTIONS 

The  chief  requirement  on  these  surfaces  is  heat-resistance.  If  more  than 
one  coat  is  applied,  priming  and  finishing  coats  should  preferably  be  the 
same  material. 

Application:  See  that  the  surface  is  clean  and  dry. 

Remove  all  scale  and  rust  by  wire-brushing. 

Stir  the  material  thoroughly  and  brush  out  well. 

If  applied  with  the  spray,  see  that  all  portions  are  completely  covered. 
Allow  at  least  24  hours  between  coats  for  drying. 

Material:  Du  Pont  Locomotive  Black  or  Du  Pont  Front  End  Black. 

Spreading  Capacity:  Approximately  500  sq.  ft.,  per  gallon,  one  coat, 
each  product. 

Note:  In  boiler  rooms,  where  oil  or  gas  is  the  fuel,  boiler  fronts  may  be 
finished  with  Du  Pont  Aluminum  Paint  wTith  excellent  results.  The 
grate-shaking  devices  may  also  be  finished  in  like  manner,  or  with 
Machinery  Enamel  of  the  shade  desired,  as  referred  to  on  page  129 
under  “Machinery.” 

WEIGHING  MACHINERY  AND  SCALES 

To  make  these  articles  conspicuous  as  well  as  to  guard  against  abrasion 
and  rust,  they  are  frequently  refinished  with  a  durable  enamel. 

For  this  purpose  use  Du  Pont  Colored  Enamels.  See  shades  in  supple¬ 
ment,  page  7.  Follow  directions  for  application  to  Waste  Cans,  page  132. 

CRANE  SUPPORTS  AND  CRANES 

New  and  Previously  Finished  Surfaces:  Should  be  treated  same  as 
Structural  Steel  Work,  see  pages  105-107. 

Material :  In  the  presence  of  gas  or  acid  fumes,  or  where  extreme  moisture 
exists,  use  Du  Pont  Antoxide.  In  extreme  acid  conditions  Du  Pont 
Acid-resisting  Black  should  be  applied  as  directed  on  page  133, 
under  “Raw  Material  Tanks,”  etc. 

135 


PROPER  PREPARATION  OF  THE  SURFACE  IS  ESSENTIAL  FOR  GOOD  RESULTS 


FUME  CONTROL  SYSTEMS 


These  are  generally  constructed  of  galvanized  iron  or  sheet  metal,  and 
should  be  treated  the  same  as  other  galvanized  iron  surfaces,  page  123. 

In  the  presence  of  acid  fumes,  Du  Pont  Acid-Resisting  Black  should  he 
applied  as  a  finishing  coat.  See  directions  for  use  on  page  133,  under  Raw 
Material  Tanks." 

Note:  Du  Pont  Acid  Zone  Red  is  also  recommended  for  use  in  the  presence  of  acid  or 
gaseous  fumes.  See  page  108. 


DRYING  STOVES  OR  OTHER  SURFACES  SUBJECT 


TO  INTENSE  HEAT 


Conditions  here  are  similar  to  those  of  Boiler  Fronts.  Finishes  recom¬ 
mended  for  these  surfaces  will  offer  resistance  to  moisture  as  well  as  heat. 


METAL  SURFACES  NOT  OTHERWISE  MENTIONED 


This  includes  a  vast  number  of  articles  and  surfaces  that  cannot  be 
covered  in  detail.  A  study  of  the  conditions  surrounding  each  surface 
should  be  sufficient  guide  for  its  paint  protection,  based  upon  the  foregoing 
information. 


136 


ALLOW  AMPLE  TIME  FOR  THOROUGH  DRYING  BETWEEN  COATS 


Chapter  18 

TREATMENT  OF  CONCRETE  AND 
CEMENT  SURFACES 

The  increasing  use  of  cement  and  concrete  in  the  construction  of  indus¬ 
trial  buildings  has  proved  beyond  question  the  desirability  of  these  mate¬ 
rials  from  the  standpoint  of  strength  and  durability.  That  the  life  of 
such  structures  can  be  greatly  lengthened,  and  their  appearance  consider¬ 
ably  improved  through  paint  protection,  is  a  fact  perhaps  not  properly 
appreciated. 

Necessity  for  the  Protection  of  Concrete  and  Cement 

Exterior  concrete  and  cement  surfaces,  owing  to  their  porous  character, 
absorb  a  great  deal  of  moisture.  This  in  time  causes  minute  cracks  in  the 
surface,  which  gradually  enlarge,  offering  still  further  opportunity  for  the 
penetration  of  water.  In  cold  weather  this  moisture  freezes  and  expands, 
creating  still  larger  crevices.  Chipping  and  breaking  down  of  the  concrete 
structure  may  then  occur. 

Concrete  and  cement  surfaces  become  unsightly  through  contact  with 
dust  and  dirt  in  the  atmosphere.  Smoke  and  soot  discolor  the  surface, 
finding  ready  lodgment  in  its  rough  exterior.  The  exudations  of  alkali  salts 
in  the  concrete  further  add  to  its  general  unsightliness.  Proper  paint  pro¬ 
tection  will  not  only  seal  the  surface  against  the  absorption  of  moisture 
and  thus  prevent  deterioration,  but  will  offer  little  opportunity  for  the 
lodgment  of  foreign  particles,  thus  insuring  an  attractive  appearance  of  the 
structure. 

Preparation  of  the  Surface  for  Painting 

Unsatisfactory  experiences  in  painting  concrete  and  cement  are  invariably 
due  to  lack  of  knowledge  of  the  peculiar  characteristics  of  these  surfaces, 
which  require  certain  preparation  prior  to  painting.  Owing  to  the  nature 
of  the  materials  and  the  method  of  manufacture,  concrete  either  contains 
or  quickly  develops  free  lime  after  setting.  Lime  is  an  alkali,  and  if  per¬ 
mitted  to  come  in  contact  with  an  oil  paint  will  quickly  convert  the  oil 
into  soap.  Rain  or  moisture  will  dissolve  the  soap,  and  nothing  but  the 
pigment  will  remain.  Its  protective  value  is  almost  entirely  lost.  For  this 
reason  a  preliminary  treatment  of  new  concrete  surfaces  is  necessary. 
Concrete  that  has  had  an  opportunity  to  age  sufficiently  should  not  require 
it.  But  it  is  far  better  to  paint  new  structures  promptly,  rather  than  run  the 
risk  of  deterioration  through  lack  of  paint  protection. 

The  most  successful  method  of  preliminary  treatment  is  to  brush  the 
surface  with  a  solution  of  three  pounds  of  zinc  sulphate  to  the  gallon  of 


137 


don’t  do  exterior  painting  in  wet  weather 


water,  applied  with  an  ordinary  bristle  brush,  after  the  cement  is  dry.  If 
the  precaution  is  observed  of  allowing  48  to  72  hours  as  a  drying  period, 
this  treatment  will  render  the  cement  surface  as  safe  to  paint  on  as  an 
ordinary  plaster  wall. 

Dr.  A.  S.  Cushman,  of  the  Institute  of  Industrial  Research,  Washington, 
D.  C.,  has  prepared  the  following  explanation  of  the  chemical  reasons  for 
the  success  of  zinc  sulphate  in  such  work : 


“In  regard  to  the  scheme  for  painting  concrete  work  with  a  solution  of  zinc 
sulphate  in  order  to  make  the  surface  hold  a  paint  coating,  it  is  my  belief 
that  the  zinc  sulphate  is  very  well  adapted  for  this  purpose,  owing  to  the 
fact  that  when  zinc  sulphate  is  brought  into  contact  with  the  calcium 
hydroxide  (hydrated  lime),  the  chemical  reaction  results  in  the  formation  of 
calcium  sulphate  (gypsum)  and  zinc  hydroxide  (hydrated  oxide  of  zinc). 

It  is  apparent  from  this  that  after  the  surface  has  become  thoroughly  dried 
again,  it  will  contain  within  its  pores  a  mixture  of  gypsum  and  zinc  oxide. 

These  materials  have  no  bad  influence  on  linseed  oil,  and  in  fact  are 
frequently  used  as  paint  pigments.  The  reason  why  such  treatment  should 
be  necessary  before  applying  the  paint  must  be  apparent  to  everyone.  When 
Portland  Cement  sets,  a  certain  amount  of  lime  is  set  free  in  a  hydrated 
condition  as  calcium  hydroxide.  This  is  a  strong  alkali  and  tends  to  sapon¬ 
ify  the  oil  in  the  paint  coating  and  thus  destroy  it.  The  work  done  by  the 
sulphate  of  zinc  is  to  destroy  this  alkalinity  and  change  the  calcium  hy¬ 
droxide  in  the  mixture  to  calcium  sulphate  and  zinc  oxide.  I  do  not  know 
of  anything  that  would  answer  its  purpose  better  than  zinc  sulphate." 

“Painting  Concrete  Structures  MacNichol. 


Another  point  to  consider,  of  equal  importance,  is  the  suction  properties 
of  the  average  concrete  surface.  All  such  surfaces  are  more  or  less  porous, 
due  to  the  character  of,  the  ingredients  used  and  the  method  of  manufac¬ 
ture.  A  paint  that  covered  400  sq.  ft.  of  surface  on  wood,  would  not  cover 
more  than  300  sq.  ft.  on  concrete  that  was  not  properly  treated  for  its 
porosity.  In  addition  to  the  sulphate  of  zinc  wash,  which  reduces  the 
porosity  to  a  considerable  degree,  it  is  advisable  to  apply  to  interior  surfaces 
a  filler,  such  as  Du  Pont  Elastic  Wall  Primer.  This  should  be  mixed  with  the 
first  coat  of  the  paint  to  be  applied,  in  the  proportion  of  one  quart  of 
Primer  to  the  gallon  of  paint.  This  will  seal  the  pores,  prevent  the  deep 
penetration  of  the  coating  into  the  concrete  and  afford  a  better  surface  for 
succeeding  paint  coats.  Exterior  concrete  surfaces  do  not  require  this 
treatment. 


Characteristics  of  the  Proper  Materials  for  the 
Protection  of  Concrete  and  Cement  Surfaces 

A  series  of  tests  conducted  by  H.  A.  Gardner,  of  the  Institute  of  Industrial 
Research,  Washington,  D.  C.,  proved  conclusively  that  the  combina¬ 
tion  pigment  paint,  made  of  a  mixture  of  white  lead,  zinc  oxide  or  similar 


138 


BE  SURE  THE  SURFACE  IS  DRY  BEFORE  APPLYING  THE  PAINT 


pigments  ground  in  pure  linseed  oil,  or  other  treated,  waterproofing  oils, 
is  the  best  paint  to  use  on  concrete  and  cement  surfaces. 


PANEL  7. 

Combination  Pigment  Paint  Made  with  Pure  Linseed  Oil.  Excellent  Condition 

Exterior  concrete  coatings  that  dry  with  an  eggshell  or  semi-gloss  finish 
are  recommended  for  best  results.  However,  any  paint  coating  that  gives 
good  results  on  wood  surfaces  will  serve  equally  well  on  concrete,  pro¬ 
vided  the  surface  has  been  properly  treated  before  the  paint  is  applied. 


139 


CONCRETE  AND  CEMENT  SURFACES  NEED  PROTECTION  THE  SAME  AS  WOOD  AND  METAL 


Cement  floors  in  most  instances  require  an  application  of  the  filler.  It 
fills  the  pores  of  the  cement,  makes  the  proper  foundation  for  the  finishing 
coats  of  paint  and  prevents  the  paint  from  drying  out  in  spots,  due  to 
unequal  absorption  of  the  floor  surface.  A  paint  that  will  give  good  service 
on  wood  floors  will  serve  equally  well  on  cement  floors,  if  conditions  are 
right  for  its  application. 

Corrosion  of  Steel  Reinforcements  in  Concrete 

Construction 

Modern  concrete  construction  requires  the  use  of  steel  and  iron  in  the 
shape  of  reinforcing  agents,  which  serve  to  bind  the  structure  together 
and  add  strength  and  rigidity.  If,  for  any  reason,  the  life  of  these  re¬ 
inforcements  is  impaired,  it  naturally  follows  that  the  strength  of  the 
concrete  construction  suffers  accordingly.  The  forces  which  attack  steel 
reinforcements  are  the  same  as  those  which  assault  other  steel  or  metal 
surfaces, — namely,  rust  or  corrosion  and  electrolysis. 

“The  ordinary  forms  of  iron  corrosion  have  been  found  to  be  due  to 
auto-electrolysis,  the  presence  of  segregated  impurities  being  responsible  for 
differences  in  potential  at  certain  areas,  which  set  up  galvanic  action  and 
cause  solution  and  the  formation  of  rust  at  the  positive  nodes.  A  similar  but 
more  rapid  action  takes  place  when  an  electric  current  is  passed  through  an 
iron  anode  immersed  in  an  electrolyte  such,  for  instance,  as  salt  water. 

When  damp  cement  contains  an  embedded  iron  anode,  the  cement  acts  as 
an  electrolyte  and  the  same  rusting  action  takes  place,  regardless  of  the 
fact  that  concrete  contains  sufficient  lime  to  inhibit  corrosion  when  no 
electrical  currents  are  present.  With  the  electrolytic  change  of  metal  into 
oxide  comes  an  increase  in  volume  of  the  products  of  reaction,  and  there  is 
developed  an  enormous  expansive  force  or  mechanical  pressure,  which  is 
sufficient  to  crack  the  strongest  forms  of  concrete. 

“Corrosion  may  therefore  be  expected,  with  its  attendant  results,  when 
sufficiently  high-voltage  direct  currents  enter  the  iron  of  a  new  concrete 
building,  either  through  contact  with  conductors  of  light  and  power  circuits, 
contact  with  water  or  gas  pipes  carrying  direct  currents  from  grounded 
power  lines,  through  defective  insulation  of  electrical  wiring,  or  from 
similar  sources.  That  the  damage  is  greatest  to  new  structures  is  due  to  the 
fact  that  the  concrete  is  then  damp  and  a  better  electrolyte  than  when  it 
becomes  dry  from  age.  That  examples  of  reinforced  concrete  structures 
damaged  from  stray  currents  are  not  more  common  may  be  due  to  the  fact 
that  engineers  are  active  in  their  endeavors  to  prevent  high-voltage  currents 
from  running  wild  in  many  localities.  This  fact,  however,  does  not  justify 
a  disregard  of  what  might  happen  in  the  future  and  what  may  now  be 
happening  to  some  structures  which  have  not  been  carefully  guarded  against 
stray  current  electrolysis.  Much  of  this  damage  may  be  prevented  by  the 
adoption  of  suitable  forms  of  foundation  waterproofing,  exterior  insulating 
joints  for  pipe-lines,  isolation  of  lead-covered  cables  entering  buildings,  and 
other  insulating  devices.  Of  equal  importance,  however,  should  be  the  safe¬ 
guarding  of  the  metal  with  suitable  insulating  and  bonding  paints,  before  it 
is  embedded  in  cement.  The  adoption  of  this  precaution,  if  followed  by  the 
use  of  the  safety  devices  noted  above,  will  guard  against  the  causes  which 
contribute  to  electrolysis  and  render  our  modern  concrete  structures  safe 
from  destruction  by  re-inforcement  corrosion.  ’ 

“ Paints  to  Prevent  Electrolysis  in  Concrete  Structures — H.  A.  Gardner. 


140 


GOOD  PAINT  COSTS  NOTHING 


On  first  consideration  it  would  appear  that  a  paint  capable  of  forming  a 
film  of  high  electrical  resistance  would  be  the  most  efficient.  Such  films, 
however,  generally  present  a  high  gloss  surface,  and  are  apt  to  prevent  the 
proper  bonding  of  the  concrete  with  the  painted  metal,  thus  doing  more 
harm  than  good. 

Mr.  Gardner  has  conducted  tests  in  which  steel  rods,  embedded  in  con¬ 
crete,  were  painted  with  various  combinations  and  connected  with  an 
electrical  current  over  a  certain  period  of  time.  He  proved: 

That  paints  drying  with  a  flat,  or  semi-flat,  finish  offer  better  bond¬ 
ing  with  the  concrete  than  gloss  paints; 

That  a  period  of  time  sufficient  to  permit  thorough  drying  of  the 
paint  should  be  allowed  prior  to  the  pouring  of  the  concrete; 

That  the  pigment  portion  of  the  paint  should  be  of  a  non-conduct¬ 
ing  nature  as  well  as  a  rust-inhibitant; 

That  the  vehicle  should  be  composed  largely  of  heavy-bodied  or 
treated  oils,  which  dry  with  a  flat  rather  than  a  high  gloss  finish,  and 
that  are  resistant  to  the  effect  of  contact  with  the  alkali  in  the  concrete. 

“Concrete  itself  cannot  be  considered  an  insulator  of  the  steel  against 
electrolytic  action.  If  the  mass  of  concrete  were  dry,  it  might  protect  the 
steel  from  electrolysis,  but  concrete  in  the  soil  will  probably  retain  more 
moisture  than  the  steel  surrounding  it,  and  conduct  a  current  whenever 
ground  currents  are  active.  An  electric  current  may  cause  failure  in  the 
reinforcement  for  the  following  reasons: 

First:  The  rise  in  temperature. 

Second:  Hydrostatic  pressure  at  the  anode  due  to  the  current  and 
to  changes  in  solution  density. 

Third:  Pressure  caused  by  generated  gases. 

Fourth:  The  chemical  change  in  the  cement,  caused  by  the  current 

and  destruction  of  the  strength  of  the  concrete. 

Fifth:  The  increased  volume  of  steel,  due  to  this  corrosion,  which 
ultimately  causes  a  stress  sufficient  to  rupture  the  concrete. 

“The  corrosion  of  the  steel  by  the  electric  current  precedes  the  cracking 
of  the  concrete.  When  the  steel  is  changed  to  ferric  oxide,  its  volume  is 
increased  in  the  ratio  of  1  to  2.2  and  a  somewhat  similar  increase  occurs 
when  other  compounds  are  formed.  It  is  known  that  enormous  forces  are 
required  to  prevent  chemical  action  by  mechanical  pressure,  and  the  con¬ 
clusion  is  therefore  reached  that  herein  lies  the  danger  against  which 
engineers  must  provide. 

“Water-proofing  is  just  as  important  about  the  foundations  of  rein¬ 
forced  concrete  structures  as  it  is  of  steel.  If  the  concrete  in  which  the  steel 
is  imbedded  can  be  kept  dry,  the  current  will  be  kept  out  of  the  steel  rods 
and  no  harm  will  come  to  them.  Tests  show  that  painting  reinforcement 
protected  it  from  electric  corrosion  when  the  blocks  were  immersed  in  a  brine 
solution,  but  that  this  protection  lasted  for  a  few  months  only,  except  in  a 
few  instances,  and  the  bond  between  the  steel  and  the  concrete  was 
greatly  reduced." 

“ Electrolysis  of  Steel  in  Concrete." — Engineering  Record. 

141 


PAINTING  IS  CHEAPER  THAN  REPLACEMENT 


“Tests  made  showed  that  under  favorable  conditions  the  iron  element  in 
reinforced  concrete  may  be  attacked  to  a  serious  degree  by  electrolytic 
action.  Further  experiments  indicate  that  if  the  concrete  is  made  water¬ 
proof,  a  positive  prevention  ought  thus  to  be  obtained  against  electrolytic 
action. 

“Investigations  have  also  proved  that  saline  solutions  surrounding  the 
concrete  will  cause  more  destruction  in  gases  and  electrolysis  than  if  the 
water  were  pure.  The  bearing  of  the  latter  fact  on  practical  work  is  pointed 
out  in  the  fact  that  salt  is  often  used  to  lower  the  freezing  point  of  water 
used  in  mixing  concrete  in  cold  weather." 


Chas.  F.  Burgess,  Prof,  of  Chemical  Engineering,  University  of  Wisconsin. 


PAINTING  STEEL  REINFORCEMENTS  IN 
CONCRETE  CONSTRUCTION 


Priming  Coat  (which  acts  as  a  finishing  coat).  Requirements  and  Applica¬ 
tion:  Similar  to  those  required  for  use  on  Structural  Steel  Construction, 
pages  105-107. 

Material:  Du  Pont  Kromate  Metal  Primer. 


142 


I 


■ 


STANDARDIZE  YOUR  PAINT  PURCHASES 


Chapter  19 

EXTERIOR  CONCRETE  AND  CEMENT  SURFACES 

Concrete  for  Structural  Purposes 
New  Surfaces 

Requirements:  Decorative  as  well  as  protective. 

Unaffected  by  free  lime  or  alkali  in  the  concrete. 

Weather  and  moisture  resistant. 

Application:  Concrete  should  age  for  at  least  30  days  before  painting. 

NeW  surfaces,  or  surfaces  not  thoroughly  dry,  should  be  washed  with 
zinc  sulphate  and  water,  as  recommended  on  page  137.  When  dry,  go 
over  with  a  wire  brush  to  remove  any  loose  particles.  See  that  the 
surface  is  clean. 

Stir  the  material  thoroughly.  If  too  thick  for  first-coat  work, 
reduce  with  a  little  pure  turpentine. 

Allow  at  least  48  hours  to  dry,  and  apply  the  second  coat  as  re¬ 
ceived  in  the  package,  after  thorough  stirring. 

Brush  well  into  the  surface  with  the  use  of  a  flat  wall  brush.  Applica¬ 
tion  by  spray  machine  is  recommended,  due  to  excessive  wear  of  the 
rough  surface  on  brushes.  See  further  information  on  spraying  in 
Chapter  24,  page  173. 

Material:  Du  Pont  Cement  and  Stucco  Coating.  Dries  with  an  egg-shell 
finish.  See  shades  in  supplement,  page  4. 

Spreading  Capacity:  Approximately  300  to  350  sq.  ft.,  per  gal.,  one  coat. 

Previously  Painted  Surfaces 

Application:  See  that  the  surface  is  dry  and  free  from  dust  and  dirt. 

Stir  the  material  thoroughly. 

Brush  well  into  the  surface. 

If  applied  with  the  spray,  see  that  the  surface  is  thoroughly  covered. 

Generally  but  one  coat  will  be  required.  If  a  light  shade  is  used 
over  a  darker  color,  two  coats  may  be  necessary. 

Material:  Du  Pont  Cement  and  Stucco  Coating,  see  shades  on  page  4. 

Spreading  Capacity:  Approximately  300-350  sq.  ft.,  per  gal.,  one  coat. 


143 


RUST  AND  DECAY  ARE  THE  ONLY  PERPETUAL  MOTION 


EXTERIOR  BRICK  AND  PLASTER 
SURFACES— NEW 

Priming  Coat:  These  surfaces  are  more  or  less  porous  and  require  the 
use  of  a  sealer  prior  to  the  application  of  the  paint. 

Application:  The  surface  should  be  clean  and  dry  and  free  from  dust 
and  dirt. 

Stir  the  material  thoroughly.  If  too  thick,  reduce  with  a  little  pure 
turpentine. 

Brush  well  into  the  surface,  using  a  flat  wall  brush. 

If  spray  is  used  see  that  the  entire  surface  is  covered. 

Allow  at  least  48  hours  for  thorough  drying. 

Apply  the  finishing  coat  of  paint  as  the  material  is  received  after 
thorough  stirring. 

Two  coats  may  be  necessary. 

Allow  at  least  48  hours  between  coats  for  drying. 

Material:  For  a  gloss  finishing  coat,  Du  Pont  Prepared  Paint,  see  shades 
in  supplement,  page  2. 

Du  Pont  Cement  and  Stucco  coating  may  be  applied  for  a  semi¬ 
gloss  or  egg-shell  finish.  See  shades  in  supplement,  page  4. 

Spreading  Capacity:  Du  Pont  Prepared  Paint,  approximately  300  to  350 
sq.  ft.,  per  gal., one  coat,  depending  upon  the  condition  of  the  surface. 

Du  Pont  Cement  and  Stucco  Coating,  approximately  300  to  350 
sq.  ft.,  per  gal.,  one  coat,  depending  upon  the  condition  of  the  surface. 

A  smooth  brick  or  plaster  surface  will  of  course  afford  larger  spread¬ 
ing  capacity  than  a  rough,  sandy  surface. 


Surfaces  Previously  Finished 

Application:  See  that  the  surface  is  clean  and  dry. 

Apply  the  material  as  received  in  the  package  after  thorough 
stirring. 

Generally  but  one  coat  is  required,  except  in  the  case  of  a  light  shade 
applied  over  a  darker  color,  in  which  case  two  coats  may  be  necessary. 

Material:  Same  as  recommended  for  New  Surfaces. 


144 


WHEN  DID  YOU  MAKE  THE  LAST  PAINT  INSPECTION? 


Chapter  20 

INTERIOR  CONCRETE  AND  CEMENT  SURFACES 

These  surfaces  are  generally  confined  to  walls  and  ceilings,  pillars  and 
floors. 

Walls,  Ceiling  and  Pillars 

Walls,  ceilings  and  pillars  should  be  painted  for  the  reasons  stated  in 
Chapter  21  on  Mill  Whites.  Please  read  carefully.  In  addition  to  the 
finishes  described  therein,  they  may  be  finished  with  a  flat,  gloss  or  enamel 
coats.  Preliminary  treatment  of  surfaces  strong  in  alkali  is  the  same  as 
stated  on  pages  137  and  138  on  “Preparation  of  the  Surface  for  Painting.” 

New  Surfaces 

Filler  or  Priming  Coat.  Application:  See  that  the  surface  is  dry  and 
clean. 

Stir  material  thoroughly  and  brush  out  well. 

If  the  surface  is  extremely  porous,  the  application  of  a  pore  sealing 
liquid  is  recommended  for  priming  coat.  If  only  normally  porous,  add 
from  two  quarts  to  three  quarts  of  such  liquid  to  the  gallon  of  paint 
for  first  coat,  depending  upon  the  character  of  the  surface. 

Material:  Du  Pont  Elastic  Wall  Primer. 

Spreading  Capacity:  Approximately  300  sq.  ft.,  per  gal.,  one  coat. 
Finishing  Coats:  To  be  finished  with  a  Flat  Paint. 

Requirements:  A  flat-drying,  washable  surface;  an  attractive  and  light- 
reflecting  finish. 

Application:  In  addition  to  the  priming  coat,  to  be  prepared  as  recom¬ 
mended  above,  apply  two  coats  as  material  comes  in  the  package 
after  thorough  stirring. 

Allow  at  least  48  hours  between  coats  for  thorough  drying. 

Flow  the  finish  on  with  as  little  brushing  as  possible. 

Use  a  four  to  six  inch  wall  brush. 

If  applied  with  the  spray,  see  that  surface  is  fully  covered. 

Material:  Du  Pont  Flat  Wall  Paint.  See  shades  in  supplement,  page  4. 
Spreading  Capacity:  Approximately  300  to  350  sq.  ft.,  per  gal.,  two  coats. 


145 


PAINTING  IS  AN  INVESTMENT,  NOT  AN  EXPENSE 


To  Be  Finished  With  a  Gloss  Paint  in  a  Tint 

Requirements:  A  washable  surface. 

An  attractive  finish,  affording  little  lodgment  for  dust  and  dirt. 

Refer  to  Chapter  21  on  the  use  of  a  Gloss  White. 

Application :  Same  as  recommended  above  for  the  application  of  Hat 
Paint. 

Material:  l)u  Pont  Prepared  Paint.  See  shades  in  supplement,  page  2. 

Spreading  Capacity:  Approximately  300  to  350  sq.  ft.,  per  gal.,  two  coats. 

To  Be  Finished  With  Enamel,  White  or  Tints 

Requirements:  A  durable,  washable  surface; 

Affording  little  opportunity  for  lodgment  of  dust  and  dirt; 

An  attractive,  high-gloss  finish. 

Application :  See  that  the  surface  has  received  a  preliminary  wash  of 
zinc  sulphate  as  recommended  on  page  137. 

The  surface  should  be  dry  and  free  from  dust  and  dirt. 

The  proper  foundation  for  enamel  coats  should  be  built  up  by  the 
application  of  sufficient  undercoats  or  priming  coats.  The  first  coat 
should  consist  of  Du  Pont  Enamel  Undercoat,  to  which  has  been  added 
one  quart  of  Du  Pont  Elastic  Wall  Primer.  Second  and  third  coats 
should  consist  of  Du  Pont  Enamel  Undercoat  used  straight;  fourth 
and  fifth  coats  should  be  applied  as  directed  on  page  82  for  “Enamel, 
Coats”  on  Interior  Wood  Work. 

Material:  For  a  white  surface,  Du  Pont  Flow  Ivote  Enamel;  Du  Pont 
Sanitary  Gloss  Enamel;  Du  Pont  Interior  Decorative  Enamel; 
as  recommended  on  page  82.  For  tints,  Du  Pont  Colored  Enamels 
see  shades  in  supplement,  page  7. 

Spreading  Capacity:  See  page  82. 

Surfaces  Previously  Finished 

Application:  See  that  the  surface  is  clean  and  dry. 

Remove  oil  or  grease  spots  by  washing  with  benzine. 

Whether  to  be  finished  in  flat,  gloss  or  enamel,  apply  as  received 
in  the  package,  after  thorough  stirring. 

A  gloss  cannot  be  applied  successfully  over  a  gloss  finish,  without 
first  sandpapering  the  surface  to  remove  a  portion  of  the  gloss,  and 
dusting  carefully. 

Material:  Use  same  material  as  recommended  under  New  Surfaces. 


146. 


GOOD  LIGHTING  DOES  NOT  DEPEND  SOLELY  UPON  DIRECT  ILLUMINATION 


Dado  on  Walls  and  Pillars 

After  the  primer  has  been  allowed  to  dry,  a  dado  may  be  applied  to  walls 
and  pillars  for  a  space  of  four  to  five  feet  from  the  floor,  using  a  contrasting 
color.  See  directions  for  application  on  New  and  Previously  Finished  Sur¬ 
faces  on  page  83,  “Interior  Woodwork.’’  See  also  Chapter  21,  page  163, 
under  “Light-Reflecting  Finishes.” 

From  the  standpoint  of  attractive  finish  as  well  as  for  maximum  light- 
reflection,  it  is  the  general  practice  to  finish  ceilings  in  a  lighter  shade  than 
that  of  side  walls  and  pillars,  except  where  White  is  used  throughout.  See 
Chapter  21  under  “Light-Reflecting  Finishes”  for  further  information. 

CEMENT  FLOORS 

Cement  floors  are  very  widely  used  in  modern  industrial  building  con¬ 
struction.  They  have  much  to  commend  them,  but  possess  certain  defects 
and  weaknesses  which  oidy  paint  protection  can  correct.  An  unpainted 
cement  floor — 

Absorbs  moisture  readily; 

Discolors  from  contact  with  oil  and  grease  or  other  foreign 
substances; 

Disintegrates  rapidly  where  subject  to  severe  usage; 

Dusts  off  in  fine  particles,  which  settle  in  the  bearings  of  machinery 
and  may  be  inhaled  by  employees  to  the  detriment  of  their 
health. 

It  must  be  remembered,  however,  that  the  thin  film  of  paint  interposed 
between  the  floor  and  the  abrasive  agents — in  the  form  of  constant  walking 
or  the  passage  of  heavy  trucks — must  be  renewed  from  time  to  time.  If  the 
surface  is  treated  properly,  however,  and  the  right  material  used,  the  paint 
will  give  good  service. 

New  Surfaces 

Requirements:  A  hard,  durable  surface: 

Resistant  to  physical  contact; 

Unaffected  by  alkali  in  the  cement; 

Impervious  to  moisture,  oil  or  grease. 

Application :  Wash  with  sulphate  of  zinc  and  water  as  directed  on  page  137. 

See  that  the  surface  is  dry  and  clean. 

Remove  grease  spots  by  washing  with  benzine. 

On  extremely  porous  surfaces,  a  filler  should  be  used  to  prevent 
suction  and  to  form  the  proper  foundation  for  finishing  coats  of 
paint.  Surfaces  that  arc  hard  and  non-porous  do  not  require  the  filler. 

Allow  at  least  24  hours  for  the  filler  to  dry. 


147 


WHAT  IS  THE  LIGHT-REFLECTING  VALUE  OF  YOUR  WALLS  AND  CEILINGS? 


Apply  the  paint  as  received  in  the  package  after  thorough  stirring, 
reducing  slightly  with  turpentine. 

Flow  out  to  a  smooth,  even  surface. 

If  applied  with  the  spray,  see  that  surface  is  fully  covered. 

Should  two  coats  be  required,  allow  at  least  48  hours  for  the  first 
coat  to  dry. 

Material:  Du  Pont  Concrete  Floor  First  Coater  as  the  filler. 

Du  Pont  Floor  and  Deck  Paint  for  finishing  coats.  See  shades  in 
supplement,  page  3. 

Spreading  Capacity:  Du  Pont  Concrete  Floor  First  Coater,  approxi¬ 
mately  400  sq.  ft.,  per  gallon,  one  coat. 

Du  Pont  Floor  and  Deck  Paint,  approximately  275  sq.  ft.,  per  gallon, 
two  coats. 

Previously  Finished  Surfaces 

Application:  See  that  the  surface  is  dry  and  free  from  dust  and  dirt. 

Wash  oil  or  grease  spots  with  benzine. 

Spots  that  have  been  badly  worn  should  be  given  a  coat  of  paint 
and  the  surface  permitted  to  dry. 

Apply  a  finishing  coat  to  the  entire  surface,  flowing  it  on  to  a  smooth, 
even  finish. 

If  applied  with  spray,  see  that  surface  is  fully  covered. 

Material  and  Spreading  Capacity:  Same  as  for  New  Surfaces. 

Note:  On  previously  finished  surfaces,  it  is  not  necessary  to  apply  another 
coat  of  the  Filler.  One  application  is  usually  sufficient,  covering  the 
life  of  the  floor. 

Exterior  concrete  or  cement  floors  may  be  finished  in  the  same 
manner  as  that  recommended  for  such  interior  surfaces. 

OTHER  CONCRETE  AND  CEMENT  SURFACES 

Inside  or  outside  may  be  finished  in  the  same  manner  as  recommended 
previously  for  such  surfaces. 

The  interior  of  concrete  tanks  holding  water,  or  other  material  that  has 
no  detrimental  effect  upon  the  paint  coating,  may  be  treated  the  same  as 
recommended  for  wood  or  metal  tanks,  pages  69  and  113  respectively. 
Such  surfaces  should  first  receive  an  application  of  the  zinc  sulphate 
wash,  if  newly  erected,  or  a  priming  coat  as  mentioned  on  page  145. 
After  which,  they  may  be  finished  with  the  oil  paint,  as  recommended. 


148 


DAYLIGHT  IS  THE  CHEAPEST  LIGHT 


Chapter  21 

LIGHT-REFLECTING  FINISHES  FOR  INTERIOR 
WALLS  AND  CEILINGS 

The  advantages  to  be  gained  by  increasing  the  effectiveness  of  natural 
daylight  in  a  plant  are  not  always  realized.  Good  lighting  does  not  depend 
solely  upon  direct  illumination.  There  are  other  factors  to  be  considered, 
the  most  important  of  which  is  the  light-reflecting  value  of  walls  and  ceilings. 
A  dark  and  dingy  condition  of  such  surfaces  is  responsible  for  tremendous 
losses,  many  of  which,  though  unperceived,  are  none  the  less  real. 


The  Handicap  of  Poor  Light 

The  most  serious  aspect  of  poor  illumination  is  its  contribution  to  the 
enormous  number  of  accidents  and  to  the  general  ill  health  of  many  em¬ 
ployees.  Insurance  figures  show  that  over  500,000  avoidable  industrial 
accidents  occur  every  year,  and  that  of  these,  125,000  or  415  a  day  are  due 
to  poor  light.  Statistics  show  that  there  are  2,000,000  recorded  “lost  time” 
accidents  in  the  United  States  every  year,  of  which  750,000  are  of  four 
weeks’  duration  or  over;  and  from  these  22,500  persons  die  and  18,000 
suffer  permanent  disability.  They  show  also  that  fractured  limbs  cause 
more  periods  of  disability  than  any  other  casualty,  and  70%  of  fractures 
are  due  to  falls.  The  president  of  the  Society  of  Safety  Engineers  in 
a  recent  communication  to  the  press  states  that  15,000  deaths  per  year 
are  caused  by  falls.  Many  falls  are  caused  by  poor  vision  and  faulty 
illumination. 

“In  the  Iron  and  Steel  Industries  of  the  United  States,  statistics  covering 
a  period  from  1905  to  1910  show  that  40%  of  accidents  occur  in  the  day¬ 
time  and  60%  at  night.  In  yards  having  deep  shadows,  30%  at  day  and 
70%  at  night.  20%  of  manufacturing  spoilage  of  $150,000,000  annually  is 
due  to  poor  lighting.” 

U.  S.  Census  Department. 

Mr.  R.  E.  Simpson,  of  the  Travellers’  Insurance  Company,  says: 

“There  is  some  foundation  for  assuming  that  18%  of  our  industrial 
accidents  are  due  to  defects  in  lighting.  On  that  basis  the  services  of 
108,000  men  for  one  year  are  lost  annually,  because  the  illumination  pro¬ 
vided  is  not  adequate  for  the  safety  of  the  workman.” 

The  report  of  the  Committee  on  the  Elimination  of  Waste  in  Industry 
of  the  American  Engineering  Council  on  Accidents  Due  to  Eye  Defects 
states: 

“One  estimate  placed  the  loss  due  to  faulty  lighting  conditions  in  this 
country  as  above  the  entire  cost  of  artificial  lighting.  In  446  industrial 
plants  investigated,  only  8.7%  were  found  to  be  in  excellent  condition.” 

149 


CHEAP  PAINT  COSTS  TOO  MUCH  TO  USE 


Records  show  that  accidents  greatly  increase  during  the  winter  months, 
coincident  with  short,  dark  days,  and  fall  off  in  the  summer  months,  with 
the  corresponding  long,  light  days.  Dr.  Harrington,  of  the  National 
Industrial  Board,  claims  that  factory  fatigue,  a  large  contributing  factor 
to  accidents,  is  brought  on  more  quickly  by  imperfect  light  than  by  any 
other  cause. 

Operators  working  at  some  distance  from  the  windows  are  in  semi¬ 
darkness  at  certain  parts  of  the  day.  If  walls  and  ceilings  are  dark,  50% 
of  the  light  entering  the  windows  will  be  absorbed  by  them  before  it  reaches 
the  center  of  the  room.  Eyestrain  develops,  things  cannot  be  seen  clearly 
and  a  very  noticeable  decrease  in  production  and  efficiency  results;  the 
morale  of  the  worker  is  thus  impaired. 

Mr.  F.  H.  Porter,  of  the  Society  for  Electrical  Development,  states: 

“Excessive  illumination  of  highly  polished  surfaces  of  the  work  before  the 
eyes  may  cause  sufficient  glare  to  cause  temporary  or  ‘snow’  blindness,  while 
deficient  illumination  may  cause  equal  inability  to  see.  The  time  lost  in 
accustoming  the  eyes  to  the  difference  in  intensity  between  these  extremes 
is  wasted,  and  during  the  interval,  work  may  be  spoiled  and  accidents 
occur.” 

Continued  working  under  exposed  light  sources  will  gradually  impair 
the  vision,  so  that  the  worker  whose  eyesight  is  imperfect  is  at  a  disadvan¬ 
tage  when  the  margin  of  safety  depends  on  normal  vision. 

Dimly  lighted  passageways  provide  a  temptation  for  poor  housekeeping. 
Such  passageways  seem  to  attract  rubbish  and  become  storehouses  for 
broken  and  discarded  tools.  Good  lighting  tends  to  keep  passageways 
clear  and  aids  in  detecting  misplaced  objects  and  dangerous  floor  conditions 
so  that  remedial  action  can  be  taken,  reducing  the  possibility  of  accidents 
wrhile  the  repairing  and  cleaning-up  operations  are  in  progress. 

In  storage  places  careless  piling  is  a  cause  of  piled-up  material  toppling 
over.  Good  lighting  would  give  reasonable  assurance  of  proper  storing  of 
materials  and  thus  prevent  accident  from  this  cause. 

Mr.  Henry  D.  Sayer,  Industrial  Commissioner,  of  the  New  York  State 
Department  of  Labor,  conducted  a  number  of  tests  in  industrial  estab¬ 
lishments  in  various  parts  of  the  State  to  determine  the  co-efficient  of 
reflection  of  wall  surfaces.  A  portion  of  his  report  follows,  showing  how7 
neglect  and  indifference  in  keeping  walls  white  affect  their  reflective  value. 

“Woodworking  Factory. — A  three-story  mill  construction  building, 
having  brick  walls,  originally  painted  white;  hardwood  dust  found  to  be 
adhering  to  them.  Average  reflection  44%.  Lights  in  the  center  of  the 
loft  would  not  have  been  nece  sary  with  walls  of  a  light  buff  color,  a  wrhite 
or  gray  tint. 


150 


TIME  TS  THE  ONLY  TEST  OF  THE  QUALITY  OF  PAINT  AND  VARNISH 


“Textile  Factory. — A  two-story  mill  construction  building,  with  brick 
walls,  originally  whitewashed.  With  quantities  of  textile  dust  from  garnett 
machines  adhering  to  the  wall,  an  average  of  39.79%  reflection  was  found. 
Artificial  illumination  was  necessary  in  the  early  afternoon  on  account  of 
the  low  reflective  value  of  walls  and  ceilings. 

“White  Metal  Foundry. — Located  on  the  ground  floor  of  a  brick 
building,  having  brick  walls  originally  painted  a  grayish-white  color. 
Sulphurous  gases  had  combined  with  the  painted  surface,  darkening  it 
throughout.  Gray  dust  adhered  to  all  points  where  lodgment  could  be 
found.  Eight  100-watt  lights  were  used  for  illumination,  five  of  which 
could  have  been  dispensed  with.  Average  co-efficient  of  reflection  of  wall 
36%. 

“Iron  Works. — Located  on  the  ground  floor  of  a  brick  building,  the 
walls  of  which  had  been  originally  whitewashed  with  lime.  Dark  brown 
dust  adhered  to  the  walls.  Several  100-watt  lights  were  used  for  illumina¬ 
tion.  Dirty  window's  on  two  sides  prevented  the  influx  of  natural  light. 
Average  co-efficient  of  reflection  from  wall  surfaces  48%. 

“Sweater  Factory. — Large  loft  125'  x  125',  having  windows  on  three 
sides.  Walls  were  plastered  and  kalsomined  a  light  color.  Smooth  ceiling 
made  of  wooden  boards  painted  white.  Two  150-watt  lights  were  used 
in  the  center  of  the  room,  and  although  weather  was  thick  and  rainy,  a 
cheerful  appearance  was  made  by  the  white  surfaces.  Average  co-efficient 
of  reflection  from  walls  78%;  from  columns  70%. 

“The  color  of  floors,  machines  and  material  worked  with  affects  the 
reflective  power  of  light.  Those  having  a  light  color  will  naturally  aid 
materially  in  dissolving  shadows  and  assisting  in  producing  a  more  uniform 
distribution  of  light  within  a  room. 

“It  is  seldom  that  machines  in  factories  are  painted  a  light  color,  but 
when  the  advantages  gained  by  maintaining  such  surfaces  as  light-dis¬ 
tributing  agents  are  more  thoroughly  realized,  they  will  no  longer  be 
classed  among  curiosities. 

“One  factory  visited  contained  large  machines,  all  of  which  were  painted 
with  a  flat  white  paint,  except  those  parts  in  contact  with  the  work.  The 
cheerful  appearance  and  the  apparent  good  light-distribution  were  im¬ 
mediately  recognizable.  Besides,  it  was  suggestive  of  good  management, 
good  housekeeping  and  economy. 

“If  the  results  obtained  are  compared  with  the  outlay  for  keeping 
windows  clean,  light  accessories  free  from  dust,  and  walls,  ceilings,  posts, 
columns  and  machines  painted  a  light  color,  marked  economy  will  be 
found.” 


151 


T  FT  THE  PAINT  MANUFACTURER  SOLVE  YOUR  PAINT  PROBLEMS 


Requirements  of  Good  Illumination 

1.  There  must  be  on  all  working  surfaces,  whether  horizontal,  vertical 
or  oblique  planes,  steady  light  of  sufficient  intensity  for  all  working  require¬ 
ments. 

2.  The  light  on  areas  of  walls  adjacent  to  the  working  area  must  be 
comparable  in  intensity  to  the  light  on  the  working  area. 

(Note:  When  a  light  area  is  too  sharply  in  contrast  with  darker  sur¬ 
rounding  areas,  the  worker’s  eyes  are  taxed  unduly  every  time  he  has 
occasion  to  look  away  from  the  lighted  area,  the  eyes  being  required  to 
focus  violently  in  accommodating  themselves  to  the  contrasts.) 

3.  The  light  must  be  of  a  color  and  specular  character  suited  to  the 
purposes  for  which  it  is  employed. 

4.  There  must  be  freedom  from  glare  and  glaring  reflections. 

(Note:  The  meaning  of  “glare”  can  be  suggested  more  easily  than  it  can  be 
defined.  According  to  the  dictionary,  one  is  experiencing  what  is  meant 
by  “glare”  as  established  in  the  terminology  of  lighting  when  such  condi¬ 
tions  as  these  are  noted : 

1.  To  shine  with  fierce  intensity; 

2.  To  be  unpleasantly  brilliant  or  gaudy; 

3.  Emitting  an  excessively  brilliant  light; 

4.  Having  a  glossy,  smooth  surface; 

5.  A  dazzling  light. 

There  are  conditions  under  which  glare  is  present  in  sufficient  degree 
to  work  injury  to  the  eye  without  the  mind  being  actually  conscious  of 
its  effect.  Glare  is  “light  out  of  place.”  Light  must  be  of  the  proper  color 
to  suit  the  work  being  done,  and  must  be  properly  diffused,  and  must  be 
uniform  on  the  adjacent  walls  as  well  as  on  the  working  area.  In  former 
days,  it  did  not  occur  to  the  manufacturer  that  a  glare  dazzled  the  eye, 
weakened  it  and  caused  the  workers  to  tire  quickly,  even  if  they  had  been 
working  under  controlled  illumination. 


Advantages  of  Good  Lighting 

Poor  vision  can  be  made  good  vision  at  a  very  nominal  cost  and  will 
increase  individual  efficiency  enormously.  On  good  authority  it  is  esti¬ 
mated  that  poor  lighting  can  be  made  good  lighting  at  less  than  1%  of  the 
payroll  and  it  will 

Increase  production  from  6  to  12%; 

Reduce  spoilage  from  15  to  25%; 

Lessen  accidents  from  20  to  30%. 


152 


A  PAINT  FILM  IS  ONLY  1/500TH  OF  AN  INCH  IN  THICKNESS 


Dr.  George  M.  Price,  of  the  Board  of  Sanitary  Control,  states: 

10%  more  output, 

26%  fewer  accidents, 

25%  less  spoilage, 

25%  better  workmanship, 
are  due  to  better  lighting. 

Good  lighting  will  on  the  average  add  30  minutes  per  day  to  the  effective 
working  time.  It  has  been  estimated  that  the  expense  of  6  to  10  minutes 
per  day  in  wage  cost  will  approximate  the  cost  of  good  lighting  for  each 
man,  even  under  extravagant  conditions  of  operation.  Expenditure  for 
good  lighting  may  be  looked  to  confidently  to  permit  a  saving  equalling 
three  times  the  expense. 

Discontent  that  breeds  in  unpleasant  surroundings,  and  restlessness 
which  comes  from  strained  nerves  and  imperfect  health,  often  have  no  outlet 
except  through  a  strike.  Sanitation,  better  hygiene  and  improved  morale 
follow  directly  as  a  result  of  the  light,  cheerful,  wide-awake  and  glarelessly- 
lighted  factory.  It  melts  up  trouble  and  discontent;  does  away  with  the 
number  of  seconds,  and  improves  to  a  remarkable  extent  the  amount  of 
good  work  that  can  be  turned  out  by  each  ordinary  workman.  Daylight 
is  the  CHEAPEST  light.  Why  not  make  the  most  of  it? 

In  short,  good  lighting — 

Increases  output  of  manufactured  materials; 

Decreases  percentage  of  defects  and  spoilage; 

Lowers  accident  rate  and  reduces  injuries; 

Lessens  eye-fatigue  and  improves  health; 

Improves  morale  through  improved  environment; 

Lessens  supervision  and  labor  turnover; 

Reduces  unit  costs  of  production; 

Decreases  cost  of  illumination; 

Possesses  advertising  value  and  bespeaks  prosperity 
and  good  management. 

A  noteworthy  increase  was  shown  in  production  tests  conducted  in  a 
textile  establishment.  An  increase  of  approximately  17%  was  shown  in 
production.  The  material  coming  from  the  machines  was  weighed  under 
normal  conditions  for  two  successive  days,  averaging  59.4  pounds  per 
hour.  Without  changing  any  other  factor  except  that  of  light,  which  was 
raised  from  1.'5  to  9.0  foot-candles,  the  material  coming  from  the  machines 
was  again  weighed  for  two  successive  days  and  the  amount  turned  out 
averaged  70.1  lbs.  per  hour. 

The  only  chance  for  this  gain  in  production  was  due  to  the  stimulation 
of  the  operator,  experienced  under  the  increased  and  better  lighting, 
resulting  in  more  rapid  movements  during  the  periods  when  hand  opera¬ 
tions  were  required  on  the  machines.  The  machines  were  run  at  a  uniform 
speed  throughout  the  tests. 


153 


GOOD  PAINT  AND  VARNISH  HOLDS  DOWN  UPKEEP  COST 


Comparative  Light  Values 

“Daylight  in  an  industrial  plant  measured  by  a  photometer  had  an 
intensity  of  90  foot-candles  at  the  benches  next  to  windows  with  southern 
exposure,  70  foot-candles  at  the  benches  next  to  northern  exposure  windows, 
and  intensities  of  50-40-20  at  inside  benches  between  the  two  exposures” — 
in  an  investigation  conducted  by  the  Lighting  Service  Department  of  the 
Edison  Lamp  Works,  as  described  by  J.  H.  Kurlander,  in  General  Science 
Quarterly,  May,  1921. 

“Other  measurements  taken  in  the  same  way  showed  interesting  con¬ 
trasts.  Sunlight  in  an  open  field  measured  8,000  foot-candles;  in  a  street 
between  buildings,  3,000;  a  shadow  in  a  street  between  buildings  measured 
300;  under  a  tree  in  the  open,  500.  The  light  on  an  office  desk  next  to  a 
south  window  had  an  intensity  of  110  foot-candles;  one  10  feet  in,  70; 
and  one  18  feet  in,  50.” 

Mr.  Kurlander’s  conclusions  are  that  there  is  practically  no  such  thing 
as  “over-lighting”  and  investigations  of  places  that  are  said  to  be  over¬ 
lighted,  will  usually  show  that,  if  anything,  they  are  underlighted. 

Diffusion  and  Reflection 

Adequate  diffusion  is  held  to  be  absolutely  essential  to  good  lighting. 
That  is  to  say,  the  light  at  any  one  point  should  come  from  a  number  of 
different  directions,  so  that  shadows  are  soft  and  transparent.  Also  the 
lighting  must  be  in  sufficiently  large  areas  to  occasion  only  soft  shadows 
and,  at  the  same  time,  be  small  enough  in  area  to  afford  ample  direct  light. 

There  are  several  sorts  of  reflection.  The  simplest  is  the  regular  reflec¬ 
tion  which  occurs  when  a  beam  of  light  strikes  a  polished  metal  surface, 
or  a  glass  mirror.  Such  light  is  always  turned  back  (reflected)  so  that  the 
angle  of  reflection  is  equal  to  the  angle  of  incidence.  (See  diagrams.) 
Regular  reflection  occurs  from  every  polished  surface. 


M1XX0K  OKWtfZEV  jUKTOCLF)  HWT  QK'oTIFFLXV  ‘dUF.FFKE'd 

Another  sort  of  reflection  is  Diffuse  Reflection.  This  occurs  when  a  beam 
of  light  strikes  a  surface,  which  is  not  smooth  and  polished.  Diffuse  reflec¬ 
tion  occurs  from  any  depolished  surface.  The  light  rays  are  reflected  from 
the  minute  irregularities  according  to  the  laws  of  regular  reflection;  but 
since  each  one  is  sent  in  a  different  direction,  the  light  is  spread  all  about. 


154 


WHY  EXPERIMENT  WITH  UNKNOWN  BRANDS-' 


Dr.  H.  A.  Gardner,  of  the  Institute  of  Industrial  Research,  Washington, 
D.  C.,  has  conducted  comprehensive  tests  covering  the  light-reflecting 
properties  of  a  wide  number  of  finishes  and  colors  for  walls  and  ceilings. 
The  condition  of  the  wall  and  ceiling  surface  is  a  very  important  factor  in 
the  degree  of  light  afforded,  as  is  shown  by  the  following  table: 


READINGS  ON  PANELS  ON  TINTED  AND  SHADED  FLAT  WALL 
LITHOPONE  PAINTS  APPLIED  IN  1915  AND  AGED  IN 
A  DARK  PLACE  UNTIL  1921. 


Co-etticient  of 


Time  of  Observation. 

Co-efficient  of  reflection  on 
basis  of  .88  for  magnesium 
carbonate. 

reflection  on 
basis  of  .98 
for  magnesium 
carbonate. 

Dec. 

1915 

May 

1921 

May 

1921 

Light  Cream..  . 

66 

62 

69 

Light  Pink . 

60 

57 

6B 

Light  Yellow . . 

58 

58 

64 

Light  Blue . 

55 

51 

0/ 

Light  Greenish- Yellow 

54 

54 

60 

Light  Buff . 

52 

54 

60 

Light  Green .  . 

42 

42 

47 

Light  Terra  Cotta .  . 

41 

41 

46 

Medium  Terra  Cotta . . 

39 

39 

44 

Light  Greenish-Blue .. .  .  . 

36 

35 

39 

Medium  Blue . 

32 

28 

31 

Warm  Green..  . 

19 

18 

20 

Medium  Green .  . 

14 

13 

15 

Red . 

12 

12 

13 

Dark  Blue . 

12 

8 

9 

Dark  Green .  . 

11 

8 

9 

You  will  observe  from  the  foregoing  table  that  the  reflection  co-efficient 
of  magnesium  carbonate  is  given  as  both  .88  and  .98.  The  rating  of  .88 
was  given  by  Dr.  Nutting  in  1912.  Recent  investigations  and  tests  have 
shown  that  rating  to  be  entirely  too  low.  The  new  rating  of  .98  was  given 
by  Messrs.  C.  H.  Sharp  and  W.  F.  Little,  as  appeared  in  the  Transactions 
of  the  Illuminating  Engineers’  Society,  Dec.  30,  1920. 


155 


PROPER  PREPARATION  OF  THE  SURFACE  IS  ESSENTIAL  FOR  GOOD  RESULTS 


A  reading  of  the  reflecting  co-efficient  of  the  most  generally  used  indus¬ 
trial  white  paints  in  the  year  1915  is  given  below: 


READINGS  ON  PANELS  OF  SPECIAL  INDUSTRIAL  WHITE 
PAINTS  APPLIED  IN  1915  AND  AGED  IN  A  DARK 
PLACE  UNTIL  1921. 


Time  of  Observation. 

Co-efficient  of  reflection  on 
basis  of  .88  for  magnesium 
carbonate. 

Co-efbcient  of 

reflection  on 
basis  of  .98 
for  magnesium 
carbonate. 

Dec. 

1915 

May 

1921 

May 

1921 

Gloss  White  X . 

58 

52 

66 

White  Enamel  XX . 

66 

59 

67 

Flat  White  X . 

64 

57 

66 

Flat  White  XX . 

60 

54 

69 

Light  Gray . 

44 

47 

52 

Medium  Gray . 

27 

32 

36 

From  the  above  it  will  be  observed  that  the  drop  in  reflecting  value  is 
only  about  10%  in  five  years.  For  the  gray  paints,  an  actual  rise  in  reflect¬ 
ing  value  is  shown — probably  due  to  a  slight  fading-out  of  the  tints. 


READINGS  ON  PANELS  OF  MODERN  INDUSTRIAL  WHITE 
PAINTS  APPLIED  IN  MAY,  1921.  OBSERVATIONS 
MADE  IN  MAY,  1921. 


Co-efficient  of  reflec¬ 
tion  on  basis  of  .98 

for  magnesium 

carbonate. 

Exterior  White  Oil  Paint . 

71 

Non-Darkening  Exterior  Oil  Paint . 

78 

Gloss  Mill  White  X . 

74 

Gloss  Mill  White  XX . 

76 

Gloss  Mill  White  XXX  . 

82 

Flat  Mill  White . 

78 

It  will  be  observed  that  the  reflection  factor  of  certain  of  these  finishes 
is  as  high  as  82% — a  figure  extremely  high  in  comparison  with  similar 
type  paints  marketed  several  years  ago.  This  great  advance  in  the  produc¬ 
tion  of  interior  industrial  whites  of  high  illuminating  value  has  come  as 
a  result  of  many  years  of  careful  study  and  selection  of  the  pigments  and 
liquids  available  for  the  purpose. 


156 


ALLOW  AMPLE  TIME  FOR  THOROUGH  DRYING  BETWEEN  COATS 


Qualities  to  Be  Desired  in  an  Interior  Finish 

In  selecting  a  paint  for  mill  or  factory  interiors — as  a  medium  for  maxi¬ 
mum  light-reflection — -the  following  points  should  be  borne  in  mind : 

FIRST:  The  make-up  of  the  paint  itself  with  regard  to  its 
light-reflecting  qualities. 

SECOND:  The  durability  of  the  paint  film  from  the  stand¬ 
point  of  resistance  to  moisture,  fumes  and  machinery  vibration. 

THIRD :  Its  ability  to  stay  white. 

FOURTH:  Ease  of  application. 

FIFTH:  Spreading  capacity. 

From  the  light-reflection  standard  all  paints  should  be  judged  by  the 
proportion  and  type  of  the  pigment  content,  for  it  is  the  pigment  that 
possesses  light-reflecting  ability.  It  is  true  also  that  the  light-reflecting 
value  of  pigments  differs,  so  that  the  type  of  pigment  is  also  an  important 
consideration. 

The  standard  of  durability  is  determined  by  the  proper  selection  of  high- 
grade  materials  and  thorough  incorporation.  Durability  cannot  be  applied 
as  an  apt  description  of  cold  water  paints;  therefore,  the  choice  lies  with  an 
oil  paint,  which  will  not  chip  nor  flake  off,  and  that  may  be  washed  without 
injury  to  the  finish. 

Ability  to  stay  white  is  another  quality  determined  by  the  selection  of 
raw  materials,  and  also  the  chemical  affinity  of  these  materials  when 
incorporated.  The  selection  of  the  vehicle  is  particularly  important. 

Taking  these  points  into  consideration,  it  is  readily  seen  that  standard- 
quality  material  should  be  specified,  manufactured  by  an  organization  wflth 
ample  resources  for  raw  materials,  modern  machinery  of  incorporation  and 
skilled  experience  in  formulation  and  actual  manufacture. 

Such  paints  may  be  purchased  in  .Flat,  Egg-Shell  or  Gloss  finish,  as 
desired.  The  advantages  and  disadvantages  of  these  finishes  are  shown  in 
the  following  comparisons: 


Flat  Finish 


Advantages 

Diffuses  a  greater  percentage  of  light  than 
the  gloss  finish,  due  to  its  greater  pigment 
content. 

Unaffected  by  machinery  vibration. 

Entirely  eliminates  glare. 

Impervious  to  moisture. 


Disadvantages 

Owing  to  its  rough  surface,  it  readily  collects 
dirt  and  dust. 

Does  not  retain  its  light-diffusing  properties, 
due  to  dust  collection. 

Is  not  so  easy  to  wash  as  a  surface  possessing 
a  smoother  finish. 


157 


GOOD  LIGHTING  DOES  NOT  DEPEND  SOLELY  UPON  DIRECT  ILLUMINATION 


Egg  Shell  and  Gloss  Finish 

Advantages  Disadvantages 

Diffuses  a  maximum  percentage  of  light 

without  glare.  None. 

Retains  its  whiteness. 

May  be  readily  washed  and  scrubbed. 

Offers  but  little  opportunity  for  the  collection 
of  dust  and  dirt. 

Will  not  chip  nor  flake  off. 

Impervious  to  moisture. 

Unaffected  by  machinery  vibration. 


High  Gloss  or  Enamel  Finish 


Advantages 

Reflects  a  great  amount  of  light. 

Offers  but  little  opportunity  for  the  collection 
of  dust  and  dirt. 

Can  be  readily  washed  and  scrubbed. 

Will  not  chip  nor  scale  off. 

Impervious  to  moisture. 

Unaffected  by  machinery  vibration. 


Disadvantages 

Produces  eye-straining  glare. 

Light  is  reflected  from  its  surface  in  sharp 
angles.  It  does  not  diffuse  it. 

Will  not  stay  white  indefinitely. 

Pigment  content  less  than  either  the  Flat  or 
Egg-Shell  finishes,  therefore  does  not  reflect 
as  much  light  as  either  of  these  paints. 


Du  Punt  Du-Lite  Gloss  is  not,  however,  an  enamel-like  finish.  It  possesses 
a  higher  degree  of  gloss  than  the  Egg-Shell  finish,  but  it  is  not  objectionable 
in  any  way;  in  fact  it  is  to  be  preferred  as  an  interior  finish  in  most  instances 
where  other  than  a  flat  effect  is  desired. 


In  some  plants  where  there  is  but  little  possibility  of  absorbing  dust  and 
dirt,  the  Flat  finish  may  be  used  with  excellent  results,  but  in  most  instances 
the  Gloss  or  the  Egg-Shell  finish  is  the  better.  This  can  only  be  deter¬ 
mined  by  a  careful  analysis  of  the  conditions  under  which  the  finish  must 
serve. 

(Note:  Much  of  the  foregoing  information  and  statistics  has  been  compiled  from  “Safety  Engineer¬ 
ing”  Magazine.) 


CONCRETE  WALLS  AND  CEILINGS 

New  Surfaces:  Refer  to  page  137,  “Preparation  of  the  Surface,”  and 
page  59,  “General  Methods  of  Application.” 

Application:  See  pages  137  and  138  for  preliminary  treatment  of  the 
surface  and  page  145  for  the  application  of  the  first  coat  of  paint. 

See  that  the  surface  is  dry  and  clean. 

Apply  a  coat  of  the  undercoat,  reduced  as  directed,  brushing  it  well 
into  the  surface. 


158 


WHAT  IS  THE  LIGHT-REFLECTING  VALUE  OF  YOUR  WALLS  AND  CEILINGS? 


If  applied  with  the  spray,  see  that  the  surface  is  fully  covered. 

Allow  at  least  48  hours  for  thorough  drying. 

For  best  results  a  second  priming  coat  is  recommended,  applied  as 
received,  without  any  reduction. 

Follow  with  finishing  coat,  applied  as  received,  after  thorough 
stirring. 

Material:  Undercoats,  Du  Pont  Du-Lite  Undercoater  and  Elastic  Wall 
Primer. 

Finishing  coat,  Du  Pont  Du-Lite — Flat,  Egg-Shell  or  Gloss. 

Spreading  Capacity:  Du  Pont  Du-Lite  Undercoater,  approximately  400 
to  500  sq.  ft.,  per  gallon,  one  coat. 

Du  P  out  Du-Lite,  approximately  500  sq.  ft.,  per  gallon,  one  coat. 

Previously  Finished  Surfaces 

It  is  not  practicable  to  apply  an  oil  paint  over  a  surface  previously  finished 
with  whitewash  or  other  water  finish,  unless  such  finish  is  entirely  removed. 
Removal  can  be  effected  by  scraping,  brushing  or  washing.  Allow  surface 
to  dry,  dust  it  carefully,  and  proceed  as  for  new  surfaces. 

There  is  no  advantage  in  final  cost  in  using  water  paints  for  interior  work. 
Their  life  is  short;  they  chip  and  scale;  particles  fall  from  the  walls  and 
ceilings  and  frequently  cause  damage  to  manufactured  products;  the  surface 
darkens  and  absorbs  dust  and  dirt;  continued  renewal  is  necessary  to  keep 
such  finishes  in  proper  condition- — an  expense  that  can  be  largely  avoided 
with  the  use  of  the  proper  oil  paints. 

Application:  If  finished  with  water  paint  or  whitewash,  the  surface  must 
first  be  vigorously  washed,  to  remove  as  much  of  the  present  finish  as 
possible.  Scraping  and  wire-brushing  may  be  necessary — but  the 
old  finish  must  be  removed.  After  this  is  done,  allow  ample  time  for 
thorough  drying. 

If  painted  with  an  oil  paint,  in  the  flat  or  egg-shell  finish,  only  one 
coat  may  be  required.  If  painted  with  a  glossy  finish,  sandpaper  the 
surface  to  “cut”  the  gloss,  before  applying  the  finishing  coat. 

See  that  the  surface  is  clean  and  dry. 

Apply  the  finishing  coat  as  received,  after  thorough  stirring. 

If  applied  over  a  surface  previously  finished  in  a  dark  shade,  a  coat 
of  Undercoater  and  a  finishing  coat  of  Flat,  Egg-Shell  or  Gloss  may  be 
required  for  proper  coverage;  otherwise  but  one  finishing  coat  should  be 
used. 

Material:  Du  Pont  Du-Lite  LTndercoater. 

Du  Pont  Du-Lite — Flat,  Egg-Shell  or  Gloss. 


159 


BETTER  LIGHTING  INCREASES  PRODUCTION  FROM  6  TO  12% 


Spreading  Capacity:  Du  Pont  Du-Lite  Undercoater,  approximately 400 
to  500  sq.  ft.,  per  gallon,  one  coat. 

Du  Pont  Du-Lite,  approximately  500  sq.  ft.,  per  gallon,  one  coat. 

PLASTER  WALLS  AND  CEILINGS 
New  Surfaces 

Application:  If  the  plaster  is  new  or  damp,  apply  a  wash  of  sulphate  of 
zinc  and  water,  as  described  on  page  137. 

See  that  the  surface  is  dry  and  clean. 

Apply  priming  and  finishing  coats  as  directed  for  Concrete  Surfaces, 
page  158. 

Material:  Du  Pont  Du-Lite  Undercoater. 

Du  Pont  Du-Lite — Flat,  Egg-Shell  or  Gloss. 

Spreading  Capacity :  Du  Pont  Du-Lite  Undercoater,  approximately  400 
to  500  sq.  ft.,  per  gallon,  one  coat. 

Du  Pont  Du-Lite,  approximately  500  sq.  ft.,  per  gallon,  one  coat. 

Previously  Finished  Surfaces:  Follow  directions  as  given  previously 
for  Concrete  Walls  and  Ceilings. 

BRICK  SURFACES 
New  Surfaces 

Application:  See  that  the  surface  is  clean  and  dry. 

Remove  grease  and  oil  spots  by  washing  with  benzine. 

Apply  one  or  more  coats  of  Undercoater,  as  may  be  required  for  a 
proper  surface,  as  directed  for  Concrete  Surfaces,  page  158. 

Allow  at  least  48  hours  between  coats  for  drying. 

Finish  with  Flat,  Egg-Shell  or  Gloss,  as  desired. 

Material :  Du  Pont  Du-Lite  Undercoater. 

Du  Pont  Du-Lite — Flat,  Egg-Shell  or  Gloss. 

Spreading  Capacity:  Du  Pont  Du-Lite  Undercoater — approximately  400 
to  500  sq.  ft.,  per  gallon,  one  coat. 

Du  Pont  Du-Lite,  approximately  500  sq.  ft.,  per  gallon,  one  coat. 

Previously  Finished  Surfaces:  Follow  directions  as  given  on  page  159, 
under  Concrete  Walls  and  Ceilings. 


160 


DAYLIGHT  IS  THE  CHEAPEST  LIGHT 


WOOD  SURFACES 
New  Surfaces 

Application:  See  that  the  surface  is  clean  and  dry. 

Coat  all  knots  with  turpentine  before  applying  the  undercoat. 

For  painting  cypress  the  addition  of  a  small  quantity  of  benzol  to 
the  undercoat  is  recommended  to  secure  penetration. 

Apply  the  undercoat,  brushing  it  well  into  the  surface,  after  thor¬ 
ough  stirring. 

If  applied  with  the  spray,  see  that  the  surface  is  fully  covered. 

Allow  at  least  48  hours  for  drying. 

Apply  finishing  coat  as  received,  after  thorough  stirring. 

Material:  Du  Pont  Du-Lite  Undercoater. 

Du  Pont  Du-Lite — Flat,  Egg-Shell  or  Gloss. 

Spreading  Capacity:  Du  Pont  Du-Lite  Undercoater — approximately  400 

to  500  sq.  ft.,  Du  Pont  DiiTLite,  500  sq.  ft.,  per  gallon,  one  coat. 

Previously  Finished  Surfaces 

Application:  If  finished  with  whitewash  or  other  water  finish,  remove 
as  previously  directed. 

If  finished  with  glossy  paint,  sandpaper  or  wire-brush  to  remove  a 
portion  of  the  gloss. 

If  a  dark  surface,  apply  both  the  undercoat  and  the  finishing  coats, 
as  may  be  required. 

If  a  light  finish,  but  one  coat  may  be  necessary. 

See  that  the  surface  is  clean  and  dry. 

Apply  material  as  received,  after  thorough  stirring. 

Brush  well  into  the  surface.  If  applied  with  the  spray,  see  that  sur¬ 
face  is  fully  covered. 

Allow  at  least  48  hours  between  coats  for  drying. 

Material:  Du  Pont  Du-Lite  Undercoater. 

Du  Pont  Du-Lite — Flat,  Egg-Shell  or  Gloss. 

Spreading  Capacity:  Du  Pont  Du-Lite  Undercoater — approximately 
400  to  500  sq.  ft.,  per  gallon,  one  coat. 

Du  Pont  Du-Lite,  approximately  500  sq.  ft.,  per  gallon,  one  coat. 


161 


CHEAP  PAINT  COSTS  TOO  MUCH  TO  USE 


METAL  WALLS  AND  CEILINGS  . 

New  Surfaces 

Priming  Coat.  Application:  Follow  directions  as  given  on  page  105,  for 
“Structural  Steel  Surfaces.” 

Material:  Du  Pont  Kromate  Metal  Primer. 

Spreading  Capacity:  Approximately  600  700  sq.  ft.,  per  gallon,  one  coat. 

Finishing  Coats:  See  that  the  surface  is  clean  and  dry. 

Apply  material  as  received,  after  thorough  stirring. 

Two  coats  are  recommended.  First  coat,  apply  the  Undercoater; 
the  second  or  finishing  coat  may  he  Flat,  Egg-Shell  or  Gloss,  as  desired. 

Allow  at  least  48  hours  between  coats  for  drying. 

Material:  Du  Pont  Du-Lite  Undercoater. 

Du  Pont  Du-Lite — Flat,  Egg-Shell  or  Gloss. 

Spreading  Capacity:  Du  Pont  Du-Lite  Undercoater,  approximately  400 
to  500  sq.  ft.,  per  gallon,  one  coat. 

Du  Pont  Du-Lite — approximately  500  sq.  ft.,  per  gallon,  one  coat. 

Previously  Finished  Surfaces 

Application:  If  finished  with  whitewash  or  other  water  paint,  removal  is 
necessary,  as  described  on  page  159. 

Apply  a  coat  of  Undercoater  as  received,  after  thorough  stirring. 

Allow  at  least  48  hours  for  thorough  drying. 

Follow  with  finishing  coat  of  Flat,  Egg-Shell  or  Gloss,  as  desired 

Material:  Du  Pont  Du-Lite  Undercoater. 

Du  Pont  Du-Lite — Flat,  Egg-Shell  or  Gloss. 

Spreading  Capacity:  Du  Pont  Du-Lite  Undercoater,  approximately  400 
to  500  sq.  ft.,  per  gallon,  one  coat. 

Du  Pont  Du-Lite,  approximately  500  sq.  ft.,  per  gallon,  one  coat. 

ACID  FUMES 

In  the  presence  of  severe  acid  or  gaseous  fumes,  it  is  impracticable  to  use 
the  average  Mill  White,  because  of  the  possibility  of  discoloration. 

Du  Pont  Lab  Enamel  is  made  to  meet  such  conditions.  It  is  unusually 
acid-resistant;  in  actual  contact  with  dilute  sulphuric  acid  the  film  has 


162 


TIME  IS  THE  ONLY  TEST  OF  THE  QUALITY  OF  PAINT  AND  VARNISH 


remained  intact  after  24  hours’  immersion.  This  test  is  more  severe  than  is 
usually  encountered  under  actual  conditions.  Color  stability  even  under 
accentuated  circumstances  is  excellent.  It  should  be  applied  over  Du-Lite 
Undercoater,  one  coat  usually  being  sufficient.  It  can  be  washed  frequently 
without  affecting  gloss  or  color.  Dries  free  from  tackiness  in  2  hours  and 
hard  in  14  hours. 

Spreading  Capacity:  Approximately  500  sq.  ft.,  per  gallon,  one  coat. 

DADO  FINISHES 

Where  a  dado  is  desired,  the  color  selected  should  be  applied  after  the 
Du-Lite  Undercoater  has  had  time  for  thorough  drying.  On  the  section  of 
the  surface  included  in  the  dado,  the  Dado  color  takes  the  place  of  the 
finishing  coat  of  Du-Lite. 

Material:  Du  Pont  Dado  Enamel,  see  shades  in  supplement,  page  6. 
Spreading  Capacity:  Approximately  500  sq.  ft.,  per  gallon,  one  coat. 


163 


. 


CONCRETE  AND  CEMENT  SURFACES  NEED  PROTECTION  THE  SAME  AS  WOOD  AND  METAL 


Chapter  22 

PLANT  STANDARDIZATION  SYSTEMS 

No  matter  what  the  size  of  the  plant,  the  adoption  of  standard  colors 
for  all  exterior  and  interior  painting  has  many  advantages.  Buildings 
painted  a  uniform  shade  are  not  only  more  orderly  and  attractive  to  the 
eye,  but  are  cheaper  to  maintain,  as  fewer  colors  of  paint  need  be  pur¬ 
chased  and  carried  in  stock.  Standardization  guards  against  the  “rainbow 
effect,”  which  frequently  results  when  the  color  of  the  paint  is  left  to  the 
fancy  of  the  individual  in  charge  of  each  unit. 

The  advantages  to  be  gained  from  such  standardization  are: 

1.  Greater  attractiveness  and  unity  of  the  entire  plant; 

2  A  standard  color  scheme  for  each  surface; 

3.  A  ready  means  of  identification  in  case  of  trouble; 

4.  A  product  for  each  surface  of  a  recognized  standard  of 

quality; 

5.  A  consequent  reduction  in  overhead  expense  by  the 

elimination  of  costly  experiments  with  unknown 
materials ; 

6.  Simplification  in  ordering  materials  for  repainting. 

The  preparation  of  a  system  of  this  kind  requires  a  careful  survey  of  the  * 
plant  and  the  cataloging  of  all  the  surfaces  or  articles  in  and  about  the 
plant  to  be  included  in  the  system.  A  knowledge  of  the  conditions  each 
surface  must  meet,  together  with  the  proper  materials  to  use  to  fulfill  the 
requirements,  is  essential. 

The  selection  of  the  colors  and  materials  must  be  based  upon  the  nature 
of  the  surface  or  article  and  the  conditions  to  be  mef, 


165 


GOOD  PAINT  COSTS  NOTHING 


The  following  is  an  example  of  a  Standardization  System  worked  out 
for  a  modern  industrial  plant: 

PLANT  STANDARDIZATION  SYSTEM  FOR  THE 
ABC  MANUFACTURING  CO. 


Interior  Surfaces — Factory 


COLOR 

KEY 

t  OLOR 
CHIP 

SHADE 

USE 

A 

— 

Kromate  Metal  Primer 

Primer  for  new  metal  surfaces 

B 

— 

Black 

Finish  for  interior  metal  work 

C 

— 

Light  Gray 

Finish  for  machinery 

D 

Bright  Green 

Finish  for  machinery  guards 

E 

Black 

Finish  for  oil  tanks 

F 

— 

Dark  Green 

Cold  "water  pipes 

G 

— 

Yellow 

Gas  Pipes 

11 

— - — 

Blue 

Comp.  Air  Pipes 

I 

— 

Orange 

Acid  Pipes 

J 

— 

Buff 

Live  Steam  Pipes  (usually 

covered) 

K 

— - 

Black 

Exhaust  Steam  Pipes 

L 

Gray 

Heating  Pipes  and  Coils 

M 

— 

Black 

Switch  boxes  and  conduits 

N 

— 

White 

Ventilating  Ducts 

0 

— 

Vermilion 

Fire  Equipment 

P 

— 

Yellow 

Sand  Pails 

Q 

— 

Vermilion 

Sprinkler  System 

R 

-  • 

Gray 

Finish  for  doors 

s 

— 

Dark  Green 

Handmark  for  doors 

T 

- - 

Vermilion 

Elevator  Gates 

U 

M  ill  White,  Gloss 

Walls  and  ceilings 

V 

— 

Dark  Green 

Dado 

W 

Dark  Gray 

Cement  Floors 

Office 


AA 

White 

Ceiling 

BB 

Light  Ivory 

Upper  Walls 

CC 

Tan 

Dado 

DD 

Dark  Oak  Varn.  Stain 

Woodwork  and  Doors 

EE  - 

Tan  (Flat) 

Radiators 

FF 

Floor  Varnish 

Floors 

166 


PAINTING  IS  CHEAPER  THAN  REPLACEMENT 


Exterior — Factory  and  Office 


1 

Kromate  Metal  Primer 

Primer  for  new  metal  work 

2 

Black 

Finish  for  metal  work 

3 

Gray 

Finish  for  Doors 

4 

-  Dark  Green 

Handmark  for  Doors 

5 

Light  Green 

Bodies  of  trucks  and  wagons 

6 

-  Dark  Green 

Chassis  and  Gears 

7 

Vermilion 

Outside  Fire  Equipment 

8 

White 

Finish  for  Oil  tanks 

9 

Yellow 

Finish  for  Electric  Locomotives 

10 

-  Black 

Finish  for  Cars  and  Trailers 

11 

-  Dark  Gray 

Finish  for  Wood  Pipe  Supports 

12 

Light  Gray 

Exterior  Wood  Surfaces 

*  13 

-  Light  Gray 

Exterior  Concrete  Surfaces 

There  are.  good  reasons  for  the  choice  of  certain  colors  and  products  for 
the  surfaces  involved.  Chief  among  these  are  the  durability  and  suitability 
of  the  color  suggested.  For  instance,  Color  “K”  for  “Exhaust  Steam  Lines” 
is  a  Black  that  will  withstand  relatively  high  temperatures.  If  one  were 
to  put  some  other  color  on  such  a  surface,  it  might  be  only  a  short  time 
until  the  shade  had  faded  and  the  paint  worn  out,  because  of  its  unsuitability 
for  the  purpose  intended. 


From  the  foregoing,  one  can  readily  see  the  value  of  such  a  system  in  the 
upkeep  of  industrial  plants.  It  facilitates  the  ordering  of  material  and 
guards  against  the  use  of  the  wrong  product  for  the  surface  to  be  finished. 
The  individual  in  charge  of  the  painting  done  in  the  plant  need  simply 
requisition  a  certain  quantity  of  “Color  (),”  if  he  wishes  to  refinish  some 
part  of  the  Fire  Equipment.  The  Purchasing  Department  orders  that 
quantity  of  material  from  the  manufacturer  by  the  same  code.  When 
received,  it  is  sure  to  be  the  right  product  for  the  purpose. 


The  Scientific  Identification 
of  Piping  Systems 

The  value  in  painting  pipe  lines  various  shades  lies  in  the  safety  element 
in  case  of  trouble.  It  is  very  easy  to  turn  off  the  wrong  valve  or  make  a 
misstep  whereby  some  one  is  injured  or  the  plant  damaged.  Color  identi¬ 
fication  of  piping  guards  against  this  possibility.  It  may  also  be  desirable 
to  indicate  the  direction  of  the  flow  of  liquids  in  certain  lines.  This  can  be 
done  by  painting  an  arrow  on  the  pipe,  pointing  to  the  direction  of  the 
flow,  at  regular  intervals  along  the  line. 

The  chart  shown  herewith  has  been  worked  out  by  a  committee  of  the 
members  of  the  American  Society  of  Mechanical  Engineers  and  the  National 
Safety  Council.  This  color  scheme  is  scientifically  correct,  based  upon  the 


167 


GOOD  PAINT  AND  VARNISH  HOLDS  DOWN  UPKEEP  COST 


colors  in  the  color  spectrum.  Investigation  has  shown  that  any  materials 
transported  in  pipe  lines  fall  into  one  of  five  classifications. 

Safe  Products 
Extra  Valuable  Materials 
Dangerous  Materials 
Protective  Materials 
Fire  Control  Equipment 

It  was  proposed  to  assign  a  major  color  to  each  classification.  The  Red 
sector  was  assigned  to  fire  control  equipment,  due  to  the  general  practice 


in  practically  all  plants  toward  using  red,  or  a  color  that  shows  in  the  led 
classification  for  this  purpose. 

Safe  Products  have  been  given  the  Green  sector. 

Extra  Valuable  Material — Purple,  (There  is  very  little  call  for 
the  use  of  this  color.) 

Dangerous  Materials — Yellow. 

Protective  Materials — Blue. 


168. 


LET  THE  PAINT  MANUFACTURER  SOLVE  YOUR  PAINT  PROBLEMS 


For  pipes  containing  solid  material,  such  as  electrical  conduits,  white  or 
gray  is  suggested,  although  the  committee  makes  no  recommendation  for 
this  work. 

In  order  to  assist  in  the  proper  identification  of  intricate  piping  systems, 
the  following  suggestions  are  in  order: 

Safe  Products:  This  represents  the  majority  of  the  products  that  are 
handled  in  the  average  plant.  These  may  he  defined  as  having  no  hazard 
in  their  handling  and  no  extraordinarily  high  value,  so  that  a  workman 
in  approaching  a  piping  system  to  make  repairs  will  run  no  undue  hazard 
in  breaking  into  a  pipe  bearing  a  safe  material,  even  though  that  material 
had  not  been  emptied  by  previous  arrangement.  In  Safe  Products  may 
be  included  air,  various  types  of  water  supplies,  such  as  city  water,  well 
w  ater,  river  w  ater,  etc. 

Extra  Valuable  Materials:  This  might  be  classified  as  part  of  the  Safe 
Materials  above  mentioned,  but  inasmuch  as  cases  came  to  the  committee’s 
attention  where  those  products  would  have  a  very  high  value,  it  appeared 
preferable  to  give  them  a  separate  major  classification. 

Dangerous  Materials:  These  materials  are  those  which  inherently 
in  themselves  are  hazardous  to  life  or  property  by  virtue  of  being  easily 
inflammable  or  productive  of  poisons.  They  include  materials  that  are 
known  ordinarily  as  fire  producers  and  explosives,  such  as  gases  of  various 
types,  acids,  oils,  etc. 

Protective  Materials:  Under  this  class  fall  materials  which  are  piped 
through  plants  for  the  express  purpose  of  being  available  to  prevent  or 
minimize  the  hazard  of  the  dangerous  materials  mentioned  above.  Thus, 
a  plant  may  have  certain  special  gases  which  are  antidotes  to  poison  fumes, 
which  gases  are  piped  through  their  plants  for  the  express  purpose  of  open¬ 
ing  or  breaking  the  pipe  in  case  of  danger.  In  this  division  may  be  included 
cer  ain  forms  o  gases,  certain  types  of  wrater,  etc. 

Fire  Extinguishing  Equipment:  This  might  properly  be  called  a 
division  of  the  Protective  Materials  just  mentioned  above,  although  the 
hazard  of  fire  and  the  use  of  sprinkler  systems  and  other  fire-fighting  equip¬ 
ment  having  become  so  universal,  it  would  appear  better  to  make  it  a  spe¬ 
cial  major  classification, — assigning  Red  for  that  purpose. 

In  deciding  upon  colors  to  be  used  for  the  indent ification  of  these  various 
classes,  please  note  the  following: 

Safe  Products — Prepared  Paint  in  any  of  the  green  shades,  dependent, 
of  course,  upon  the  nature  of  the  plant  and  the  conditions  under  which 
the  paint  must  serve.  Floor  and  Deck  Paint,  Green;  Motor  Truck  and 
Wagon  Paint,  Green ;  Colored  Enamels  of  any  of  the  Green  Shades. 

Extra  Valuable  Materials — There  is  practically  no  call  for  the  special 
color  recommended  for  this  purpose. 


169 


PAINTING  IS  AN  INVESTMENT,  NOT  AN  EXPENSE 


Dangerous  Materials — Du  Pont  Floor  and  Deck  Paint,  Buff,  Spruce, 
Deep  Orange,  Dark  Spruce;  Motor  Truck  and  Wagon  Paint,  Yellow; 
Colored  Enamel,  Buff. 

Protective  Materials — Prepared  Paint  No.  164-93;  Motor  truck  and 
Wagon,  Blue;  Colored  Enamel,  Medium  Blue. 

Fire  Extinguishing  Equipment — Safety  Red;  Fire  Equipment  Red;  Pre¬ 
pared  Paint  No.  191;  Motor  Truck  and  Wagon,  Vermilion;  Motor  Truck 
and  Wagon,  Maroon;  Antoxide  Red;  Ferro-Keep,  Red;  Floor  and  Deck, 
Maroon;  Colored  Enamel,  Rich  Porch  Red.  Naturally,  the  brighter 
shades  are  preferable. 

Where  intricate  systems  of  piping  prevail  and  where  it  is  not  possible 
to  have  a  sufficient  number  of  varying  shades  of  any  one  color  to  use  on 
piping  systems,  valves  or  couplings,  then  it  is  recommended  that  the  basic 
color  be  applied  and  the  name  of  the  contents  of  the  pipe  be  stencilled  on 
the  outside  of  the  pipe  on  the  lower  half,  so  that  it  can  be  easily  kept  clean 
and  may  be  readily  visible  from  the  operating  floor.  Previously,  where 
systems  of  this  kind  existed,  valves  and  couplings  were  ofttimes  given 
two  or  three  colors  in  a  striped  effect,  which  made  it  extremely  difficult 
to  keep  all  the  combinations  in  mind.  This  system  is  much  more  simple, 
is  thoroughly  understandable  and  anyone  with  any  degree  of  intelligence 
can  readily  determine  the  exact  nature  of  the  product  contained  in  the 
pipes,  if  the  identification  is  worked  out  along  the  lines  mentioned  above. 

Paint  Reduces  Condensation 

In  many  industries  corrosion  of  piping  systems  is  greatly  accelerated  by 
the  condensation  of  moisture  upon  the  piping.  Frequently,  this  is  so 
pronounced  that  drops  of  water  fall  upon  goods  in  process  of  manufac¬ 
ture  or  upon  intricate  machinery  and  do  considerable  damage.  The 
application  of  three  or  four  coats  of  paint  to  such  piping  will  greatly  reduce 
this  annoyance,  as  paint  is  a  good  insulator. 

Where  the  amount  of  condensation  is  pronounced  and  where  the  treat¬ 
ment  recommended  above  does  not  entirely  overcome  the  difficulty,  the 
treatment  of  ground  cork  will  reduce  it  to  an  infinitesimal  degree.  This 
calls  for  first  a  coat  of  Kromate  Metal  Primer,  applied  as  directed  on  page 
106.  When  dry,  follow  with  Du  Pont  Antoxide  of  the  shade  selected. 
Immediately  upon  application  and  while  the  paint  is  still  wet,  apply 
ground  cork  generously  to  the  surface,  pressing  it.  into  the  paint  by  hand, 
to  which  it  will  readily  adhere.  See  that  the  coating  is  thick  and  uniform. 
When  thoroughly  dry,  follow  with  one  or  two  coats  of  Antoxide,  Colored 
Enamel  or  any  other  finishing  coat  that  may  be  best  suited  to  convey  to 
the  observer  the  nature  of  the  contents  of  the  pipe. 

Cork  painting  may  also  be  used  with  advantage  on  the  interior  of  store¬ 
rooms,  refrigerating  rooms  or  wherever  sweating  might  occur  through 
differences  in  temperature. 


170 


don't  buy  paint  by  cost  per  gallon 


Painting  machinery  guards  a  bright  color,  such  as  Bright  Green,  will 
serve  to  make  them  conspicuous  and  their  absence  immediately  noted. 
Operators  frequently  are  tempted  to  take  guards  off  machines  on  the  plea 
that  they  interfere  with  maximum  production,  or  are  slightly  in  the  way. 
A  prominent  color  will  advertise  their  removal  and  the  employee  will 
hesitate  to  disconnect  a  guard  so  treated. 

Painting  Radiators  for  Efficiency 

The  practice  of  painting  radiators  and  heating  systems  with  gold  or 
aluminum  bronze  is  not  recommended.  Tests  have  proved  that  a  radiator 
so  finished  gives  far  below  its  maximum  heat  energy.  The  liquid  and  the 
bronze  seal  the  pores  of  the  iron  and  retard  its  radiating  effectiveness. 

Mr.  John  R.  Allen,  in  his  paper,  “ Heat  Losses  from  Direct  Radiation 
states  that  it  makes  no  difference  what  paints  are  used  on  a  radiator  as  a 
priming  coat.  The  results  always  depend  upon  the  last  coat  of  paint  put 
on  the  radiator.  Metals  have  a  poor  radiating  effect,  so  that  any  paint 
containing  flake  metal,  such  as  bronze,  will  have  a  low  radiating  constant. 

The  Bureau  of  Standards,  Washington,  D.  C.,in  their  Bulletin  107,  Dec. 
6,  1923,  states — “A  gain  of  15  to  20%  in  heat  dissipation  into  a  room 
may  be  expected  by  covering  the  ordinary  multi-segmented  house  radiator 
with  a  non-metallic  paint.  By  non-metallic  paint  is  meant  a  material 
which  does  not  contain  the  flakes  of  pure  metal,  whether  aluminum  or 
bronze.  If  the  radiator  happens  to  be  coated  with  aluminum  paint,  the 
non-metallic  coating  may  be  painted  over  the  aluminum  paint,  which  is  a 
good  conductor  of  heat  and  hence  does  not  impede  thermal  conduction 
through  the  walls  of  the  radiator.  This  non-metallic  coating  need  not  be 
black  paint.  The  white  lead  and  zinc  oxide  paints  and  enamels,  the  chrome 
colored  pigments,  the  greenish  colored  oxides,  such  as  chromium  oxide, 
etc.,  offer  a  variety  of  tints  for  decorative  purposes,  with  greater  efficiency 
in  heat  dissipation.” 

The  following  table  gives  the  variations  in  heat  radiation  in  tests  con¬ 
ducted  on  a  2-column,  38"  radiator,  with  steam  temperature  at  215°  and 
room  temperature  at  70°F. 


CONDITION  OF  SURFACE. 

B.  t.  u.  Transmitted 
per  Square  Foot  of 

Radiator  per  Hour. 

Cast  Iron  Bare . 

240 

Painted  with  aluminum  bronze . 

200 

“  gold  “  . 

205 

“  white  enamel . 

242 

“  maroon  japan . 

240 

“  white  zinc  paint . 

242 

“  no-luster  green  enamel . 

230 

“Transactions  American  Society  Heating  and  Ventilating  Engineers .” 


171 


THE  MAIN  VALUE  OF  PAINT  IS  PROTECTION 


For  office  use,  a  flat  finish,  such  as  is  used  on  interior  walls,  or  an  enamel, 
will  permit  maximum  heat  radiation.  Such  a  finish  rarely  cracks  or  peels, 
can  be  washed  to  keep  it  clean,  and  is  both  attractive  and  durable.  In  the 
plants  themselves,  Du  Pont  Ferro-Iveep  or  Du  Pont  Floor  and  Deck  En- 
amel  Paint  of  the  shade  desired  should  be  used. 

Prescription  Paint  Service 

Du  Pont  Prescription  Paint  Service  is  solving'  today  the  difficult  main¬ 
tenance  problems  in  hundreds  of  establishments,  large  and  small,  the  coun¬ 
try  over.  It  analyzes  the  conditions  to  be  met  by  each  surface  and  pre¬ 
scribes  the  correct  treatment  and  proper  material  that  will  give  the  most 
durable  and  economical  results. 

The  first  step  is  a  study  of  the  plant  or  structure  by  a  skilled  du  Pont 
Paint  Engineer.  Based  upon  this  survey  a  Standardization  (  hart  is  sub¬ 
mitted,  showing  the  exact  type  of  paint  and  the  colors  to  be  used,  accom¬ 
panied  by  a  detailed  report  covering  the  condition  of  each  surface,  methods 
of  treatment  prior  to  painting,  painting  periods,  annual  or  more  frequent 
inspections,  etc.  Complete  directions  for  the  application  of  each  product 
are  also  included. 

On  request,  the  du  Pont  Company  will  be  glad  to  work  out  such  a 
standardization  plan  for  your  plant  and  furnish  a  sufficient  number  of 
copies  for  the  guidance  of  those  interested.  These  charts  should  be  framed 
and  hung  on  the  wall  for  ready  reference. 


172 


A  PAINT  FILM  IS  ONLY  1/500TH  OF  AN  INCH  IN  THICKNESS 


Chapter  23 

ZONING  SYSTEMS  IN  INDUSTRIAL  PLANTS 

A  system  of  marking  safety  and  other  regulatory  zones,  governing  the 
external  and  internal  plant  activities,  is  of  value  in  practically  all  industries. 
Some  of  the  uses  of  such  a  system  are  the  following : 

Exterior 

(a)  The  regulation  of  general  traffic. 

(b)  Directing  attention  to  the  path  travelled  by  overhead  cranes; 

(c)  Marking  the  location  of  fire  equipment; 

(d)  Designation  of  space  about  fire  hydrants; 

(e)  Limiting  the  pathway  traversed  by  factory  trucks; 

(f)  Laying  out  parking  spaces  for  employees’  automobiles. 

Interior 

(g)  Marking  the  location  of  fire  extinguishers  and  other  fire  equip¬ 
ment  ; 

(h)  Preserving  aisle  boundaries; 

(i)  Governing  the  storage  of  heavy  supplies; 

(j)  Designation  of  pathways  travelled  by  factory  trucks; 

(k)  Indication  of  space  occupied  by  machine  operator; 

(l)  Brightening  up  a  dark  corner  to  render  some  object  conspicuous. 

Each  plant  will  probably  find  many  other  ways  in  which  safety  zones 
may  be  marked  out  to  the  reduction  of  accidents  and  the  increase  of 
efficiency.  White  is  generally  used  for  marking  purposes,  although  other 
colors  may  be  employed  as  desired,  such  as  Red,  Yellow,  Green,  etc. 

Requirements:  A  white  that  stays  white; 

A  color  of  non-fading  character; 

A  lasting  and  durable  finish; 

Resistance  to  hard  wear  and  abrasion. 

Application:  This  depends  upon  the  character  of  the  surface  and  the 
conditions  to  be  met.  In  general,  the  directions  for  the  application 
of  finishes  on  similar  surfaces  may  be  followed  with  assurance  of  satis¬ 
factory  results. 

If  to  be  applied  on  a  concrete  or  cement  surface  where  it  will  be  sub¬ 
ject  to  heavy  traffic — follow  directions  for  preparing  the  surface  of 


173 


WHY  EXPERIMENT  WITH  UNKNOWN  BRANDS? 


CLEAR  AISLES 

The  Boundaries  of  Aisleways  are  Marked  with  Broad,  White 
Paint  Lines  Inside  of  which  no  Material 
is  Allowed  to  be  Piled 

( Courtesy  Westinghouse  Electric  and  Mfg.  Co.) 

Cement  Floors  qii  page  147.  On  such  surfaces  usually  a  broad  stripe  is 
made  with  the  brush.  Allow  at  least  six  hours  for  thorough  drying 
before  permitting  traffic  to  proceed.  The  material  should  be  used  as 
received,  after  thorough  stirring. 

Material:  If  white  is  to  be  used,  Du  Pont  Traffic  W hite. 

Frequently  other  colors  are  desired,  particularly  for  marking  spaces 
holding  fire  equipment — as  (c)  and  (g),  and  for  cautioning  against 
possible  danger — -as  (b). 

Du  Pont  Motor  Truck  and  Wagon  Paint, 

Du  Pont  Colored  Enamels,  or 

Du  Pont  Fire  Equipment  Red  may  be  used  for  the  purpose. 

Regulating  Traffic 

Practically  all  modern  municipalities,  counties  and  states  recognize  the 
value  of  traffic  regulation  by  the  use  of  lines  and  devices  applied  to  the 
pavement  at  corners,  curves,  etc.  White  is  most  generally  used,  although 
Black,  Yellow,  Orange,  Red  or  other  colors  are  frequently  applied.  Du 
Pont  Traffic  White  is  recognized  as  a  superior  product  for  this  purpose. 


174 


PAINT  IS  AN  INVESTMENT,  NOT  AN  EXPENSE 


In  comparative  tests  it  has  proved  itself  over  and  over  again  and  is  today 
the  standard  in  many  cities.  Where  other  colors  are  desired,  they  may 
be  furnished  on  request. 

Painting  Fire  Hydrants 

In  many  cities  the  practice  of  painting  fire  hydrants  other  than  Vermilion 
is  standard  procedure.  Yellow  has  been  found  unusually  acceptable,  for 
the  reason  that  this  color  makes  the  hydrant  highly  visible  at  night.  In 
addition  it  is  not  susceptible  to  fading,  as  is  the  case  with  certain  Reds. 
Du  Pont  Motor  Truck  and  Wagon  Yellow  is  correct  both  in  color  and 
durability  for  this  purpose. 


175 


PROPER  PREPARATION  OF  THE  SURFACE  IS  ESSENTIAL  FOR  GOOD  RESULTS 


Chapter  24 

MECHANICAL  PAINT  APPLICATION 

The  development  of  the  Mechanical  Painting  Machine  for  paint  and 
varnish  application  is  due  primarily  to  the  great  demand  placed  upon  the 
painting  industry  by  wartime  activities  and  the  absolute  necessity  of  in¬ 
creasing  the  available  means  for  paint  application.  The  shortage  of  men 
capable  of  wielding  brushes  soon  became  apparent  and  the  great  speed 
demanded  in  production  developed  as  a  vital  factor.  The  success  of 
mechanical  painting  of  war  equipment  has  paved  the  way  for  its  use  in 
peacetime  practice  and  the  satisfactory  results  obtained  by  many  firms 
with  the  use  of  the  mechanical  painting  machine  have  clearly  demon¬ 
strated  its  practicability,  economy  and  value  for  upkeep  painting. 

Mechanical  painting  equipment  for  upkeep  work  comprises  two  units: 

1.  The  air-compressing  unit  consists  of  air  compressor,  air  receiver, 
motive  power  and  accessories.  Supplied  in  both  portable  and  stationary 
types. 

2.  The  spraying  unit  consists  of  one  or  more  paint  guns,  material  con¬ 
tainers,  regulating  and  air  cleansing  means,  hose,  and  other  accessories. 

The  power  used  for  energizing  the  compressor  may  be  derived  either 
from  an  electric  motor,  gas  engine,  steam  engine  or  line  shaft.  A  part  of 
the  air  compressor  set  is  the  air  receiver.  This  is  employed  to  store  up  the 
compressed  air  and  to  prevent  pulsations  in  the  air  line.  Each  air  receiver 
is  equipped  with  a  pressure  gauge,  adjustable  safety  valve  and  drain  valve. 
From  the  air  receiver  the  compressed  air  is  piped  to  the  different  parts  of 
the  plant,  where  it  is  used  for  operating  the  paint  guns  and  for  other  pur¬ 
poses.  The  portable  type  of  air  compressor  is  mounted  upon  a  wheel  base 
and  the  drive  is  either  motor  or  gas  engine. 

The  paint  guns  are  of  two  general  types — the  attached  cup  or  jar  type 
and  the  separate  container  type.  The  former  is  used  mainly  for  fin'shing 
manufactured  articles  in  a  fixed  booth  and  is  not  recommended  for  indus¬ 
trial  upkeep  purposes.  The  latter  type  is  employed  for  industrial  paint¬ 
ing  in  general.  It  has  both  fluid  and  air  lines  leading  to  it.  The  paint  or 
other  material  is  in  a  separate  container  and  is  forced  to  the  paint  gun 
through  the  fluid  hose  by  gravity  or  air  pressure.  The  air  foi  atomizing  the 
paint  and  shaping  the  spray  is  led  directly  to  the  paint  gun  through  the 
air  hose.  Both  the  flow  of  the  air  and  the  paint  can  be  adjusted  so  as  to 
control  the  amount  of  material  applied  and  the  degree  of  atomization 
employed. 

The  material  container  for  use  with  the  separate  container  type  of  paint 
gun  ranges  from  1  to  50  gallons’  capacity,  and  may  be  either  of  two  types: 


ALLOW  AMPLE  TIME  FOR  THOROUGH  DRYING  BETWEEN  COATS 


1.  The  gravity  type  is  used  exclusively  for  stationary  service  in  situa¬ 
tions  where  the  article  to  be  coated  is  brought  to  a  booth  supplied  with 
exhausting  equipment  for  taking  off  excess  vapors.  It  is  mainly  used  for 
finishing  manufactured  products. 

2.  The  pressure  type  material  container  consists  of  a  suitably  constructed 
tank  easily  accessible  for  cleaning.  1  his  container  has  either  a  bolted-on 
or  a  screw-type  head  and  is  fitted  with  a  diaphragm  type  regulator  that 
controls  the  amount  of  air  pressure  used  to  drive  the  material  through  the 
fluid  hose,  also  the  air  employed  for  atomizing  purposes.  The  container  is 
equipped  with  either  an  air  or  a  mechanical  agitator  for  preserving  the  mix 
of  the  material. 


v'- 


Painting  the  Brick  Walls  of  a  Factory  by  Machine 

Regulation  of  the  air  pressure  serves  to  form  the  spray  into  different 
shapes  suitable  for  quickly  covering  the  work. 

An  important  factor  attendant  upon  the  success  of  mechanical  painting  is 
the  correct  regulation  of  the  air  pressure  and  the  flow  of  the  material. 
Too  great  an  atomization  pressure  causes  waste  and  over-aeration  of  the 

178 


don't  do  exterior  painting  in  wet  weather 


material  that  is  being  applied.  This  is  frequently  the  cause  of  a  defective 
finish.  To  take  care  of  this  condition,  air  purifying,  straining  and  regulating 
devices  are  employed. 

The  proper  amount  of  air  pressure  to  be  used  in  connection  with  mechanical 
painting  is  very  hard  to  determine,  owing  to  the  fact  that  various  materials 
require  a  variation  of  air  pressure,  and  no  set  rule  can  be  given.  Just 
enough  air  pressure  should  be  used  to  cause  the  paint  to  flow  freely  through 
the  hose  to  the  spraying  machine.  When  working  on  the  ground,  a  pressure 
of  from  5  to  10  pounds  will  be  found  sufficient  to  force  the  average  material 
through  the  hose,  and  from  35  to  45  pounds’  pressure  to  atomize  the  paint 
at  the  nozzle. 


Painting  Factory  Ceiling 


Too  much  air  pressure  on  the  paint  will  force  more  material  through  the 
nozzle  than  can  be  properly  atomized,  which  results  in  sags  and  unneces¬ 
sary  weight  in  material.  As  to  the  proper  distance  to  hold  the  machine 
from  the  surface  to  be  coated,  this  has  been  found  to  be  from  6  to  8  inches. 
The  thickness  of  the  coats  of  paint  applied  can  be  varied  at  the  will  of  the 


179 


BE  SURE  THE  SURFACE  IS  DRY  BEFORE  APPLYING  THE  PAINT 


operator.  As  in  all  painting,  the  inexperienced  operator  has  a  tendency 
to  apply  a  heavy  coat,  and  it  is  necessary  for  him  to  use  extreme  precaution 
and  see  that  the  adjusting  needle  valve  on  the  spray  is  constantly  kept 
tight  and  to  allow  only  enough  air  pressure  on  the  paint  to  cause  the  paint 
to  flow  freely  at  the  nozzle. 

It  is  just  as  necessary  to  have  a  variety  of  sprays  and  nozzles  for  different 
kinds  of  work,  if  the  proper  results  are  obtained,  as  it  is  to  have  different 
styles  and  sizes  of  brushes. 

The  equipment  of  nozzles  and  sprays,  as  given  by  the  following  code, 
is  the  same  for  any  make  of  machine.  For  the  application  of  ready-mixed 
paint  J — large  spray;  K — small  spray;  A — size  of  nozzle  in  diameter  inch; 
D — .081  inch;  E — .070  inch;  F— .0465  inch;  FF — .055  inch. 

The  most  important  thing  to  observe  in  the  application  of  ready-mixed 
paint  is  the  size  of  the  nozzle,  paint  and  atomization  pressure;  also  size 
of  air  compressor.  The  average  spray  requires  approximately  6  cu.  ft.  of 
air  per  minute.  Any  compressor  which  has  a  cylinder  smaller  than 
V/2  X  3V2  will  not  give  sufficient  amount  of  air  for  spraying.  Strain  all 
material  before  use. 

Atomization  pressure  on  priming  coat — 45-50  lbs. 

Atomization  pressure  on  finishing  coat — 50-60  lbs. 

J  spray  recommended  for  priming  coat  with  E  nozzle;  K  for  second  coat 
with  F  nozzle. 

Surface  conditions  present  certain  problems  which  require  very  careful 
consideration.  Where  a  surface  is  very  badly  weatherbeaten  and  the 
cracks  are  extremely  large,  it  is  almost  impossible  to  fill  them  with  the  spray 
alone,  but  by  using  the  spray  and  brush  together  and  applying  the  primer 
with  the  machine  and  then  working  the  brush  over  rapidly,  all  the  weather¬ 
beaten  cracks  can  be  filled  perfectly  and  the  process  requires  but  a  very 
few  minutes’  extra  time. 

In  preparing  ready-mixed  paints  for  priming  work,  reduce  with  a  mix¬ 
ture  of  raw  linseed  oil  and  turpentine,  two  to  three  pints  to  the  gallon  of 
paint — varying  the  relative  amounts  of  the  two  liquids  to  meet  the  require¬ 
ments  of  the  surface.  Do  not  use  too  much  oil  in  the  priming  coat,  as  this 
will  cause  it  to  dry  with  too  high  a  gloss.  It  is  absolutely  necessary  that 
the  priming  coat  be  flat  and  no  gloss  spots  appearing  before  the  second 
coat  is  applied.  During  the  early  spring  and  fall,  paint  has  a  natural 
tendency  to  “crawl”  where  any  gloss  spots  are  showing.  These  are  easily 
taken  care  of  if  the  second  coat  is  brushed,  but  with  a  paint  spray  we 
encounter  more  difficulties,  and  that  is  one  reason  that  the  priming  coat 
should  be  strictly  flat.  If  the  case  is  one  where  there  is  considerable  gloss 
showing  in  the  priming  coat,  and  the  operator  is  having  difficulty  in 
keeping  the  paint  from  crawling,  he  may  overcome  this  trouble  by 
spraying  a  very  thin  coat  of  turpentine  or  benzine  over  the  gloss  surface; 


180 


CONCRETE  AND  CEMENT  SURFACES  NEED  PROTECTION  THE  SAME  AS  WOOD  AND  METAL 


or  if  this  will  not  stop  the  trouble,  a  damp  cloth  rubbed  over  the  gloss 
spots  will  do  the  trick.  He  will  then  be  able  to  apply  the  second  or  finishing 
coat  perfectly. 

The  second  coat  should  be  applied  as  the  paint  comes  from  container,  a 
very  thin  coat  being  applied.  An  extra  heavy  coat  will  cause  crinkling  and 
the  result  will  be  that  it  will  have  to  be  burnt  off  in  a  very  short  time.  Two 
thin  coats  are  better  than  one  thick  one.  Naturally,  however,  in  using  the 
machine,  it  is  advisable  to  produce  the  desired  results  with  the  application 
of  the  fewest  number  of  coats  possible.  On  inside  painting,  one  spray  coat 
of  flat  white  is  equal  to  two  brush  coats. 

Because  of  a  greater  uniformity  with  the  mechanical  method  of  applica¬ 
tion,  the  freedom  from  alternate  thinness  and  thickness  in  a  coating,  and 
the  greater  security  of  getting  the  paint  into  ordinarily  inaccessible  or  diffi¬ 
cult  places,  the  machine  job  will  generally  prove  more  satisfactory  for  in¬ 
dustrial  upkeep  purposes  than  brush  work. 

Extreme  precaution  should  be  taken  with  reference  to  using  ordinary 
garden  hose  for  paint  hose.  Paints  passing  through  this  class  of  hose  con- 


Painting  Cement  Stucco 
181 


I 


Photomicrograph  of  Cross  Section  of  Wood  Coated  with  Hand 
Brush,  First  Coat  White,  Second  Coat  Red, 

Third  Coat  White 


Photomicrograph  of  Cross  Section  of  Wood  Coated  with  Spray 
Gun,  First  Coat  White,  Second  Coat  Red, 

Third  Coat  White 


182 


GOOD  PAINT  COSTS  NOTHING 


tinuously  will  cause  it  to  deteriorate  in  a  short  time.  Small  chunks  of  the 
rubber  from  the  hose  will  cause  the  nozzle  to  become  clogged  up,  and 
grief  starts  by  having  to  clean  out  the  spray  every  hour  or  so,  and  losing  a 
great  deal  of  time.  Nothing  but  a  hose  specially  built  for  machine 
painting  should  be  used. 

Cleaning  the  equipment  after  the  day’s  work  is  finished  is  of  utmost  im¬ 
portance.  Much  trouble  with  mechanical  painting  machines  may  come 
from  neglect  to  observe  this  precaution.  The  proper  way  to  clean  the 
equipment  is  to  blow  all  paint  out  of  the  paint  line  and  tank,  and  then  run 
through  the  tank  and  the  paint  line  3dz  gallon  of  kerosene.  The  spray-gun 
should  be  disconnected  from  the  paint  hose  and  left  in  kerosene  overnight. 


Painting  Wire  Fence 

Diversity  of  Use  of  Mechanical  Painting  Machine 

There  seems  to  be  no  limit  to  the  practical  application  of  mechanical 
painting  in  industrial  upkeep.  Walls,  ceilings,  floors,  beams,  interior  and 
exterior  surfaces  may  be  successfully  treated  in  this  manner.  Even  woven- 
wire  factory  fencing  may  be  machine  painted  with  satisfaction. 


183 


WHY  EXPERIMENT  WITH  UNKNOWN  BRANDS? 


“Two  men  operate  the  equipment,  one  with  the  gun  and  the  other  on  the 
inside  of  the  fence  to  move  the  shields  and  touch  up  the  supporting  pipes. 
By  spraying  against  a  shield  at  an  angle  of  45  degrees  the  paint  rebounds 
and  paints  both  sides  of  the  wire  at  the  same  time.  It  is  understood  that 
twenty  sections  of  fence,  10  by  7  feet,  and  including  the  barbed  wire  above, 
can  be  painted  in  one  eight-hour  day  by  two  men,  including  setting  up  and 
cleaning  the  equipment.  The  entire  cost  in  one  instance,  including  paint 
and  labor,  figured  three-fourths  of  a  cent  per  foot  of  fence. 


Applying  Interior  Flat  Paint 

“In  one  practical  painting  job  six  men  (two  operators,  twro  men  to  strain 
paint,  etc.,  and  two  men  to  move  scaffolding)  applied  in  two  days  sufficient 
flat  interior  paint  to  cover  58,000  square  feet  of  surface.  The  cost  of 
application  (not  including  the  cost  of  paint)  figured  about  $0.0013  per 
square  foot  of  surface. 


Applying  Metal  Paints 

“The  use  of  the  spray  gun  for  applying  two  different  types  of  metal  paints 
has  proved  very  efficient,  as  will  be  noted  from  the  results  charted  below: 


Painting  Machine 
Hand  Brush . 


RED  LEAD  PAINT 

Surface  Area  Paint  Used 
Sq.  Ft.  Gals. 

2,208  6 

2,208  iy2 


Painting  Machine  .  .  . 
Hand  Brush . 


RED  OXIDE  PAINT 


Surface  Area 
Sq.  Ft. 
1,170 
1,170 


Paint  Used 
Gals. 

2  U2 


Time  1  Man 
Hours 
1.86 
16 


Time  1  Man 
Minutes 
16 
150 


Uniform  Composition  of  Paints  Applied  by 
Mechanical  Means 

“One  manufacturer  of  painting  equipment  has  made  an  interesting  experi¬ 
ment  to  show  the  constancy  of  composition  of  paint  as  it  leaves  the  nozzle  of 
the  gun.  In  the  test  with  a  certain  paint  containing  a  rapidly  settling  pigment, 
the  machine  (with  air  agitation)  was  stopped  at  three  different  periods  and 
samples  were  taken  from  the  nozzles.  Three  different  paints  were  used  in 
each  test,  making  nine  samples  in  all.  Analysis  of  the  paint  showred  a  varia¬ 
tion  between  pigment  and  vehicle  of  an  approximate  average  of  one-tenth 
of  1  per  cent.  Similar  samples  taken  from  the  brush  operator  showed  a 
variation  of  slightly  more  than  19  per  cent  in  some  cases. 


184 


PAINTING  IS  CHEAPER  THAN  REPLACEMENT 


Painting  Oil  Tanks 

“In  the  painting  of  oil  tanks  a  comparative  test  of  hand  brush  versus 
machine  painting  was  made  with  the  following  results: 

Surface  Area  Paint  Used  Time,  Hours 
Sq.  Ft.  Gals. 


Brush .  67,641  124.25  413 

Machine .  67,641  82.6  20.5 


COMPARATIVE  COST 

Material  at 

Labor  at 

Total  Cost 

Total  Cost 

$3  per  gal. 

$1  hour 

Labor  and 
Material 

per  sq. 
of  100  ft. 

Brush  . 

.  $372.75 

$413.00 

$785.75 

$1.16 

Machine . 

.  247.80 

20.50 

268.30 

.40 

Oil  Tank  Car  Painting 

“In  another  instance  an  oil  company  recently  submitted  the  following 
figures,  showing  a  reduction  in  the  cost  of  painting  by  the  use  of  mechanical 


painting  equipment  from  $15  per  car 

to  $4.17. 

METHOD 

Type  of 

Car 

Number 

Material 

Time 

Painted 

Used 

Required 

Appearance 

Brush  . 

Tank  Car 

3 

21  gallons 

42-48  hrs. 

Fair 

Machine  .... 

Tank  Car 

3 

10  gallons 

5  hrs. 

Fine 

“The  material  was  a  scrap  enamel,  rather  difficult  to  apply  by  brush. 
It  pulled,  and  to  overcome  this  the  brush  painters  applied  a  heavier  coat 
of  material  than  was  actually  necessary.  No  trouble  was  experienced  in 
applying  the  material  by  machine.” — Oil ,  Paint  &  Drug  Reporter. 

There  is  a  great  advantage  in  using  the  spray  gun  in  certain  types  of 
industrial  painting.  For  instance,  in  finishing  the  inside  of  the  roof  of  a 
building  constructed  of  corrugated  steel  sheeting,  the  machine  is  far 
superior  to  the  brush  method,  for  the  following  reasons: 

First,  because  the  air  blast  preceding  the  paint  spray  helps  to  drive  away 
existing  dust  or  paint  scale.  Do  not  be  misled  by  this  statement,  however, 
in  the  belief  that  surfaces  to  be  painted  with  the  machine  do  not  require 
preparation  for  painting.  Follow  the  same  directions  for  preparing  the 
surface  as  are  recommended  for  brush  work. 

Second,  the  spray  gun  drives  the  paint  between  the  lap  joints  of  cor¬ 
rugated  steel  roofing  and  seals  in  the  structural  steel  joints. 


185 


STANDARDIZE  YOUR  PAINT  PURCHASES 


Third,  the  spray  gun  will  project  the  paint  through  the  corrugated  arches 
where  the  sheet  lies  on  top  of  the  roof  beams  and  structural  siding  supports.  ‘ 
In  this  way  the  tops  of  the  roof  beams,  plates  and  rivets  are  sealed  in  with 
a  coat  of  paint.  It  is  impossible  to  reach  and  cover  surfaces  of  this  kind 
with  the  paint  brush. 


Machine  Painting  Metal  Roof 


Estimating  Figures  on  Standard  Lines  of  Ready-Mixed 
Paints  for  Priming  and  Finishing  Coats 

Ready-Mixed  Prepared  Paint — Spreading  rate  per  gallon,  450  to  500 
sq.  ft.  (priming  600  feet),  one  coat.  Atomization  pressure:  15^2  lbs.  per 
gallon  weight,  55  to  60  lbs.  air  pressure.  Priming  coat  same  air  pressure. 

Flat  Wall  Paint — Spreading  rate  per  gallon,  approximately  400  to  425 
sq.  ft.,  one  coat. 

Finishing  Coat  for  Concrete:  Atomization  pressure  on  finishing  coat, 
40  lbs.  one  or  two  applications.  Add  one  quart  of  volatile  to  each  gallon 
of  paint  used,  and  do  not  use  over  45  lbs.  of  air  pressure.  Spreading  rate 
per  gallon,  one  application,  approximately  220  sq.  ft.  to  250  sq.  ft. 

Mill  White  Undercoat :  Atomization  pressure  on  ceilings,  45  lbs. — on  side 
walls,  50  to  60  lbs.  Primer  should  be  applied  with  very  lowr  air  pressure,  as 
higher  pressure  will  cause  excess  vapors.  Care  should  also  be  taken  in 


186 


RUST  AND  DECAY  ARE  TIJE  ONLY  PERPETUAL  MOTION 


reference  to  the  amount  of  air  pressure  on  the  mill  white  in  the  paint  con¬ 
tainer,  as  too  much  paint  pressure  will  cause  the  mill  white  to  sag  and  it 
would  appear  that  the  material  was  too  thin.  This  is  very  important. 
Spreading  rate  per  gallon  on  standard  mill  white  primers,  approximately 
300  to  350  sq.  ft.,  one  coat. 


Painting  Shingle  Roof 


Mill  White  Gloss:  Same  air  pressure  as  for  Primer.  For  one  coat  do  not 
add  thinners.  Adjust  needle  valve  of  spray  to  determine  what  thickness  of 
film  will  be  required  to  cover  to  give  a  perfect  coating.  One  machine  applica¬ 
tion  is  approximately  two  brush  coats.  Spreading  rate  per  gallon,  approxi¬ 
mately  300  sq.  ft.  on  a  good  surface,  one  coat. 

Mill  White  Flat:  Same  as  recommended  for  Mill  White  Gloss. 

Oxide  Paint:  Atomization  pressure,  50  to  60  lbs.  Spreading  rate  per 
gallon,  approximately  300  sq.  ft.  for  finishing  coat,  on  a  surface  not  too 
absorbent.  On  metal  roofs,  material  of  this  kind  should  cover  practically 
400  to  450  sq.  ft.  per  gallon,  one  coat. 

Shingle  Stain:  Atomization  pressure,  40  to  50  lbs.  Spreading  rate  per 
gallon,  450  to  500  sq.  ft.,  one  coat,  depending  upon  condition  of  the  surface. 


187 


WHEN  DID  YOU  MAKE  THE  LAST  PAINT  INSPECTION? 


Advantages  of  Mechanical  Painting 

In  considering  the  machine  method  of  painting,  three  things  must  be 
given  consideration:  First,  Durability;  second,  Cost  of  Application;  third, 
Cost  of  Paint. 

Durability:  Experiments  have  shown  that  a  well  designed  paint,  properly 
prepared  for  mechanical  application,  will  penetrate  the  pores;  and  that, 
aided  by  the  impact  of  the  paint  striking  the  surface,  a  better  bond  and 
more  uniform  coating  is  applied  than  when  the  brush  is  used. 

Arthur  Seymour  Jennings,  editor  of  The  Decorator,  London,  England 
and  a  recognized  authority  on  the  technique  of  paint  crafts,  states: 


“There  is  abundant  evidence  to  prove  that  the  application  of  paints  by 
spraying  or  mechanical  means  effects  an  enormous  saving  of  time  over  the 
hand-brush  method  and  that  the  sprayed  coat  is  more  thorough  and  durable. 

'The  answer  to  the  question  of  durability  is  the  fact  that  properly  pre¬ 
pared  paint,  applied  with  the  machine,  gives  an  equal  or  even  better  result 
than  that  which  would  be  obtained  if  the  brush  were  employed.  In  addition, 
the  spray  finds  its  way  into  places  where  the  brush  cannot  reach,  such  as 
open  joints,  rough  surfaces,  modeled  parts,  etc.” 


Cost  of  Application:  The  nature  of  the  surface  to  be  coated  as  well  as  its 
accessibility  must  be  considered. 

For  hand-brush  work  a  building  must  be  laddered  or  scaffolded,  so  that 
the  painter  can  come  within  arm’s  length  of  his  work.  The  setting  and 
placing  of  ladders  and  scaffolds  represent  a  large  portion  of  the  expense  of 
some  jobs. 

In  machine  painting  a  large  amount  of  the  scaffolding  is  eliminated,  as  the 
operator  does  not  have  to  work  so  close  to  the  surface,  and  by  the  employ¬ 
ment  of  an  extension  sprayer  he  can  cover  a  surface  10  to  15  feet  distant, 
The  width  of  the  average  paint-brush  stroke  employed  in  applying  paint 
to  a  building  is  3  in.  to  4  in.,  and  to  cover  the  surface  at  least  two  passes 
across  the  work  are  necessary.  The  average  width  of  the  spray  stroke  is 
1_0  in.,  and  the  flow  of  paint  is  graduated  so  that  only  one  pass  across  the 
work  is.  necessary.  Recently,  guns  have  been  put  on  the  market  that 
project  a  flat  fan-type  spray  that  is  from  28  in.  to  30  in.  wide.  With  these 
spray  guns  large  surfaces  can  quickly  be  given  a  fine,  uniform  coating. 

From  a  surface-covering  standpoint  a  spray  gun  will  do  the  work  of 
from  two  to  ten  men  using  hand  brushes,  the  amount  varying  with  the 
character  of  the  work  done. 


188 


PAINTING  IS  AN  INVESTMENT,  NOT  AN  EXPENSE 


The  following  comparisons  of  coats  of  brush  and  machine  painting  speak 
for  themselves: 


Exterior  Work 


Previously  Painted  Metal  Roof 

Surface  Area  Paint  Used  Time  1  Man 
Sq.  Ft.  Gals.  Hours 


Machine .  578  1.49  .5  (%) 

Brushing .  578  1.35  1.5 


RESULTS  CALCULATED  TO  10,000  SQ.  FT. 

Machine .  10,000  25.8  8.6 

Brushing .  10,000  23.3  25.9 

COMPARATIVE  COST  OF  10,000  SQ.  FT.  OF  WORK 

Machine  25.8  gallons  Paint  at  $4.00 . , . $103.20 

8.6  hours  Labor  at  .90 .  7.74 


$110.94 


Brushing  23.3  gallons  Paint  at  $4.00 . .  93.20 

25.9  hours  Labor  at  .90 .  23.31 


$116.51 

Mechanical  Painting  Required  Approximately 

10%  More  Paint 


Brushing  Required  Approximately 
200%  More  Labor 

Previously  Painted  Brick  Walls  and  Stone  Cornice 


Surface  Area  Paint  Used  Time  1  Man 
Sq.  Ft.  Gals.  Hours 

Machine .  8,364  10.8  20. 

Brushing .  8,188  9.87  41. 

RESULTS  CALCULATED  TO  10,000  SQ.  FT. 

Machine .  10,000  12.90  23.9 

Brushing .  10,000  12.05  50. 


COMPARATIVE  COST  OF  10,000  SQ.  FT.  OF  WORK 


Machine  12.90  gallons  Paint  at 

$4.00 . 

.  $51.60 

23.9  hours  Labor  at 

.90 . 

.  21.51 

$73.11 

Brushing  12.05  gallons  Paint  at 

$4.00 . 

.  48.20 

50.  hours  Labor  at 

.90 . 

.  45.00 

$93.20 

189 


GOOD  LIGHTING  DOES  NOT  DEPEND  SOLELY  UPON  DIRECT  ILLUMINATION 


Machine  Painting  Required  Approximately 

7%  More  Paint 

Brushing  Required  Approximately 
109%  More  Labor 

Combined  Ceilings  and  Walls  of  Plaster 


Machine  . 
Brushing 

Surface  Area 
Sq.  Ft. 

.  2,600 

.  1,000 

Paint  Used  Time  1  Man 

Gals.  Hours 

6.39  5.33  (5H) 

1.75  5.33  (53 4) 

RESULTS  CALCULATED  TO  10,000  SQ.  FT. 

Machine 

Brushing 

.  10,000 

.  10,000 

24.5 

17.5 

20.5 

53.3 

COMPARATIVE  COST  FOR  10,000  SQ.  FT. 

Machine 

24.5  gallons  Paint  at  *4.00 . 

20.5  hours  Labor  at  .90 . 

.  .  18.45 

Brushing  17.5  gallons  Paint  at  *4.00 . 

53.3  hours  Labor  at  .90 . 

*116.45 

.  .  47.97 

*117.97 


Mechanical  Painting  Required  Approximately  40%  More 
Paint  But  Gave  Quite  Good  Hiding  in  One  Coat 

Crushing  Required  Approximately  160%  More  Labor 
and  Gave  Poor  Hiding  in  One  Coat 

“A  Study  of  the  Practicability  of  Spray  Painting.” — H.  A.  Gardner 

Comparison  of  Quantities  of  Paint  Used  for  Machine 
Painting  and  for  Brushing 

The  general  opinion  among  those  who  have  used  the  machine  for  in¬ 
dustrial  painting  is  that  spraying  takes  somewhat  more  paint  than  brush¬ 
ing.  This  is  a  condition  that  can  be  controlled  at  the  will  of  the  operator, 
as  the  flow  and  projection  of  paint  from  the  nozzle  of  the  gun  can  be 
graduated  from  a  thin  frosting  to  a  heavy  flow  coat. 

The  experienced  hand  brusher  and  the  experienced  machine  operator  both 
know  the  correct  thickness  of  coating  to  apply  in  order  to  secure  best 
results  on  different  classes  of  work. 

On  outside  jobs  when  working  in  a  strong  wind  the  sprayer  will  un¬ 
doubtedly  use  more  paint  to  cover  a  given  footage  than  the  brush  painter 
on  inside  work;  the  amount  of  paint  used  to  cover  a  given  amount  of  surface 


190 


. 


WHAT  IS  THE  LIGHT-REFLECTING  VALUE  OF  YOUR  WALLS  AND  CEILINGS? 


with  an  equal  thickness  of  coating  will  be  approximately  the  same  under 
both  methods. 

It  is  not  advisable,  therefore,  to  paint  exteriors  with  the  machine  in  the 
presence  of  a  high  wind,  as  a  portion  of  the  paint  is  blown  away  and  causes 
a  loss  of  paint.  Machine  painting  of  exteriors  is  most  economical  where 
there  is  a  large  expanse  of  unbroken  surface. 

Sanitation 

The  question  may  arise  regarding  the  health  of  the  operators  and  the 
effect  of  inhaling  small  amounts  of  paint  that  have  been  finely  dispersed 
throughout  the  air.  This  is  an  important  consideration,  particularly  when 
working  in  rooms  where  there  may  be  insufficient  ventilation.  The  use  of  a 
mask  is  advised.  Bauer  &  Black,  of  Chicago,  make  one  particularly  for  the 
purpose.  It  is  sanitary,  light  in  weight,  easy  to  adjust  and  very  low  in 
cost — 10c  each.  It  consists  of  two  sheets  of  gauze  containing  a  pad  of 
absorbent  cotton  filled  with  a  small  amount  of  activated  charcoal.  The 
mask  is  cross-stitched  and  so  arranged  that  it  will  fit  closely  over  the  nose. 
A  detachable  elastic  band  is  provided  to  go  around  the  head.  The  purpose 
of  the  activated  charcoal  is  to  absorb  the  vapors  of  benzine,  acetone  or 
other  volatile  solvents.  The  purpose  of  the  cotton  is  to  keep  out  dust  and 
particles  of  pigment.  Those  having  used  this  type  of  mask  report  excellent 
satisfaction  in  every  way. 


Mechanical  painting  machines  have  been  improved  in  construction,  so 
that  it  is  now  possible  to  secure  equipment  that  does  not  produce  an  excess 


191 


BETTER  LIGHTING  INCREASES  PRODUCTION  FROM  6  TO  12% 


of  flying  vapor.  Operators  working  with  modern  painting  machines  experi¬ 
ence  no  inconvenience  and  are  in  no  danger  from  the  effects  of  paint  fumes. 

Practicability  of  Mechanical  Painting 

Mr.  H.  A.  Gardner,  Director  of  the  Institute  of  Paint  and  Varnish  Research, 
Washington,  D.  C.,  in  September,  1919,  conducted  exhaustive  tests  of  all 
types  of  machine  painting  on  widely  differing  surfaces. 

An  inspection  on  May  22,  1922,  of  these  tests  showed  the  following: 

Wall  Work  (Exterior) 

Both  machine  and  brush  surfaces  in  good  condition,  with  slight  chalking. 
Where  the  original  surface  was  smooth,  the  spray  coat  showed  a  smoother 
job  as  against  the  slightly  lined  appearance  of  the  brush  marks.  As  origi¬ 
nally  applied  by  the  new  operator,  the  spray  coat  was  a  little  less  uniform 
than  the  brush  work,  and  close  inspection  of  the  heavier  portions  of  the 
film  on  the  spray  side  shows  a  little  crowsfooting  and  wrinkling  of  the  film 
with  slightly  more  chalking.  In  one  recessed  section  of  the  wall  over  an 
areaway,  patchy  covering  was  noted  on  the  spray  work.  The  slight  differ¬ 
ences  noted  above  are  brought  out  only  on  close  inspection,  both  surfaces 
normally  appearing  in  equally  good  condition  as  regards  appearance, 
bonding,  smoothness  and  condition  of  film. 


Roof  Work 

The  major  portion  of  the  roof  surface  was  done  by  the  machine  and  was 
in  good  condition.  The  following  slight  differences  were  noted  between 
machine  work  and  hand-brush  work  on  a  sloping  portion  of  the  tin  roof 
which  was  of  ribbed  construction.  Shortly  after  application  of  the  paint 
it  was  noted  that  in  sunken  places  and  where  the  original  surface  was 
rough,  a  slightly  heavier  film  was  applied  by  the  gun,  and  the  surface  con¬ 
sequently  showed  up  somewhat  patchy.  At  this  inspection,  this  condi¬ 
tion  is  scarcely  noticeable  in  the  appearance  and  the  film  at  these  places 
is  in  very  good  condition,  still  affording  good  protection.  On  the  remainder 
of  the  roof  surfaces,  all  of  which  were  coated  by  machine  (both  flat  roof 
surfaces  and  very  steep  surfaces),  the  film  is  perfectly  uniform. 

Experiments  and  practical  tests  have  proved : 

That  the  painting  machine  can  successfully  handle  paint  of  practi¬ 
cally  any  weight  per  gallon; 

That  much  greater  speed  can  be  attained  in  mechanical  painting  as 
compared  with  brush  work; 


192 


DAYLIGHT  IS  THE  CHEAPEST  LIGHT 


That  practically  no  difference  exists  in  the  appearance  of  machine 
work  compared  with  brush  application,  with  the  exception  that  in 
some  instances  the  surface  shows  slightly  better  hiding  with  the  ma¬ 
chine  as  compared  with  the  brush; 

That  the  apparent  loss  of  paint  in  the  form  of  a  fine  mist  is  in  reality 
very  trifling,  amounting  to  possibly  no  more  than  1  or  2%  of  the  paint. 
In  a  damp  or  moist  atmosphere,  the  mist  appears  to  be  of  a  greater 
volume  than  ordinarily,  due  to  the  mixture  of  the  mist  with  the 
atmosphere  in  the  form  of  a  cloud; 

That  a  simple  form  of  respirator  should  be  used,  particularly  in 
interior  work  extending  over  a  considerable  length  of  time; 

That  superior  work  can  be  done  with  the  machine  on  surfaces  or 
under  conditions  making  brush  application  impractical  or  extremely 
difficult; 

That  in  many  instances  a  satisfactory  finish  can  be  obtained  with 
one  machine  coat,  w  hile  twTo  coats  may  be  necessary  when  applied  wdth 
the  brush; 

That  pract  ically  anyone  can  be  taught  the  use  of  the  painting  machine 
in  a  very  short  time; 

That  machine  painting  requires  in  most  instances  more  paint  than 
brush  application,  but  the  slightly  increased  cost  of  the  paint  is  offset 
greatly  by  the  lower  labor  cost; 

That  the  durability  of  machine  painting  is  in  most  instances  as 
good  as  that  of  brush  wrork,  and  frequently  better. 

The  economies  effected  by  the  use  of  the  mechanical  painting  equipment 
can  be  summed  up  as  a  saving  in  labor,  time  and  material. 

Labor  is  saved  through  the  fact  that  one  machine  operator  can  accomplish 
wdth  less  effort  as  much  wrork  as  can  be  done  in  the  same  time  by  three  to 
five  brush  hands. 

Time  is  saved  by  the  wrork  being  done  several  times  faster  than  with 
other  methods. 

Material  is  saved  by  the  application  of  fewrer  coats  and  the  ability  of  the 
operator  to  adjust  the  paint  gun  to  deliver  the  exact  thickness  of  coating 
desired. 

Machine  painting  wdien  correctly  performed  produces  a  durable,  uniform, 
high  quality  of  finish,  free  from  runs,  sags  or  brush  marks. 

(Note:  The  foregoing  data  are  compiled  from  articles  on  Spray-Painting  that  appeared  in  the  Paint 
Oil  and  Chemical  Review,  written  by  C.  B.  Lyons,  formerly  Lieutenant  U.  S.  A.  in  charge  of  Paint 
Spraying.) 

From  the  foregoing  there  is  no  doubt  about  the  practicability  and  econ¬ 
omy  of  the  painting  machine  for  industrial  upkeep  work.  Large  industrial 


193 


BE  SURE  THE  SURFACE  IS  DRY  BEFORE  APPLYING  THE  PAINT 


plants  or  those  having  a  sufficiently  large  number  of  buildings  and  equip¬ 
ment  to  warrant  the  investment  should  have  a  machine  of  their  own. 
It  could  be  operated  at  a  profit  practically  throughout  the  year. 


Investment 


It  is  difficult  to  give  definitely  the  investment  necessary  to  make  to  pur¬ 
chase  a  complete  mechanical  painting  outfit.  The  type,  capacity  and 
amount  of  equipment  required  regulate  the  price.  As  an  approximate  figur¬ 
ing  basis,  they  range  in  price  from  $300  to  $500  for  the  portable  equipment. 
When  considering  the  purchase  of  painting  equipment,  it  is  best  not  to 
guess  at  what  is  required,  riace  your  needs  in  the  hands  of  reliable  manu¬ 
facturers  and  let  them  supply  and  guarantee  the  particular  equipment 
best  suited  for  your  needs. 

The  following  are  some  of  the  makers  of  painting  machines  of  proven 
quality : 

Willard  C.  Beach  Air  Brush  Co.,  Newark,  N.  J. 

Dayton  Air  Brush  Co.,  Dayton,  Ohio. 

Dunn’s  Paint  Machine  Co.,  208-210  Mission  St.,  San  Francisco,  Calif. 

The  DeVilbiss  Mfg.  Co.,  3734  Detroit  Ave.,  Toledo,  Ohio. 

Eclipse  Air  Brush  Co.,  Newark,  N.  J. 

International  Engineering  Co.,  Malden,  Mass. 

W.  N.  Matthews  Corp.,  St.  Louis,  Mo. 

Paasche  Air  Brush  Co.,  1915  Diversey  Parkway,  Chicago,  Ill. 

Peerless  Pneumatic  Systems,  Inc.,  108  N.  Jefferson  St.,  Chicago,  HI. 

Spray  Engineering  Co.,  60  High  St.,  Boston,  Mass. 

Bauer  &  Black,  Chicago,  are  the  makers  of  a  successful  type  of  mask. 


194 


CHEAP  PAINT  COSTS  TOO  MUCH  TO  USE 


Chapter  25 

BRUSHES  AND  THEIR  CARE 

Good  painting  depends  upon  good  material,  properly  applied  with  good 
brushes.  Much  dissatisfaction  may  be  caused  by  using  worn-out  or  “lousy” 
brushes.  A  working  knowledge  of  Brushes  and  their  care  is  essential.  The 
brushes  most  generally  used  in  upkeep  wofIc  are  the  following: 

Flat  Paint  Brush 

Oval  Paint  and  Varnish  Brush 

Flat  Sash  or  Trim 

Oval  Sash  Brush 

Flat  Varnish  Brush 

Roof  Painting  Brush 

Round  and  Flat  Dusters 

Flat  Paint  Brushes  are  generally  composed  of  Chinese  bristles  and  may 
be  bound  with  metal,  leather  or  vulcanized  rubber.  They  may  be  pur¬ 
chased  solid,  that  is,  with  the  bristle  extending  through  the  entire  depth 
of  the  binding,  or  they  may  have  a  “plugged”  or  solid  center,  with  bristles 
inserted  around  the  plug.  This  latter  brush  has  nothing  to  recommend  it 
for  efficiency’s  sake;  its  only  advantage  is  low  price.  Flat  Paint  Brushes  are 
made  in  Yl'  sizes  from  3"  to  5",  the  bristles  varying  in  length  from  3Y" 
to  4j/g".  These  brushes  are  suitable  for  applying  all  kinds  of  paint  on  all 
kinds  of  surfaces.  The  metal  or  leather  bound  brushes  should  not  be  used 
for  varnish.  A  varnish  brush  should  be  set  in  vulcanized  rubber. 

Oval  Paint  and  Varnish  Brushes  are  made  of  Chinese  bristles,  made 
with  both  solid  and  open  center.  They  are  usually  made  chiseled,  which 
aids  in  ready  spreading  of  the  paint  or  varnish.  The  open-center  brush 
is  superior,  having  greater  working  length  of  bristle.  They  are  made  in 
sizes  numbered  from  4/0  to  10/0.  The  No.  10  size  of  one  manufacturer  is 
an  oval  2fY'  in  greatest  width  and  has  bristle  4%"  long. 

Flat  Sash  Brush  or  Trim  is  similar  to  a  flat  varnish  brush,  but  is  some¬ 
what  thinner.  The  bristles  are  chiseled  Chinese.  The  brush  should  not  be 
too  thick,  as  it  is  difficult  to  trace  sash  or  do  fine  work  with  a  thick  brush. 
It  is  made  1",  IY"  and  2"  wdde;  the  bristle  of  the  1 Yf'  size  should  be  2y% 
long  to  be  of  the  proper  proportions.  The  bristles  should  be  set  in  rubber 
for  best  results. 

Oval  Sash  Brush  is  made  of  Chinese  bristles,  chiseled,  and  set  in  rubber. 
Made  in  sizes  1  to  10.  The  No.  8  brush  of  one  reliable  maker  is  1Y"  wide 
and  has  bristle  2Y%  long. 

Flat  Varnish  Brushes  are  of  various  types  and  styles.  Made  usually  of 
Chinese  bristles,  chiseled  and  set  in  rubber.  Made  in  widths  from  \Yi' 


195 


TIME  IS  THE  ONLY  TEST  OF  THE  QUALITY  OF  PAINT  AND  VARNISH 


to  4"  in  half-inch  sizes,  the  length  of  bristles  in  proper  proportion.  Suitable 
for  applying  varnishes  and  enamels  to  all  types  of  surfaces. 

Roof  Painting  Brushes  are  of  two  kinds:  A  straight  brush  made  prefer¬ 
ably  of  gray  Russian  bristle,  leather  bound  and  double  nailed.  It  is  at¬ 
tached  to  a  long  handle  and  used  like  a  sweeping  brush.  Made  in  7", 

8",  8J4"  and  9"  widths.  The  7"  size  has  bristles  3}^>"  long.  The  other  type 
is  known  as  a  “knotted”  brush — i.  e.,  the  bristles  are  grouped  in  sections, 
bound  with  stout  wire,  in  two,  three,  or  four  groups,  or  “knots.”  These 
brushes  are  less  expensive  than  those  just  described,  and  are  made  of 
common  or  more  ordinary  bristle  mixed  with  horsehair,  the  stock  being 
about  33^"  long.  Roof  brushes  are  suitable  for  painting  all  types  of  roof 
surfaces,  especially  those  of  metal. 

Round  and  Flat  Dusters:  These  are  of  many  types  and  sizes;  some 
made  of  various  kinds  and  mixtures  of  Russian  and  Chinese  bristle.  The 
flat  duster  is  the  more  practical  type  for  upkeep  work.  They  are  made 
pitch-set,  wire-drawn  or  set  in  rubber;  the  last-named  brush  is  the  most  eco¬ 
nomical,  as  it  can  be  cleaned  in  gasoline  or  turpentine,  or  washed  with  soap 
and  water  without  affecting  the  setting.  The  4 }/±  flat  Duster  has  bristles 
4  ii"  long. 


Buying  Brushes 

Brushes  wrhose  only  recommendation  is  cheapness  should  never  be 
purchased.  The  more  costly  brushes  are  usually  the  least  expensive  in  the 
end.  They  not  only  permit  better  work  to  be  done,  but  enable  it  to  be  done 
with  less  effort  and  fatigue,  and  they  have  far  greater  “mileage.”  They 
give  a  considerably  smaller  total  brush  cost.  By  buying  brushes  of  the 
better  sort,  the  total  year’s  brush  expense  will  be  much  less,  regardless  of 
the  initial  cost. 

Brushes,  like  anything  else  that  is  “made,”  sometimes  develop  defects 
in  workmanship.  The  better  manufacturers  guarantee  their  brushes  and 
wall  gladly  replace  such  brushes  that  are  returned  to  them. 

All  new  brushes,  w'hether  the  bristle  is  set  in  cement  or  vulcanized  in 
rubber,  will  probably  shed  a  few  bristles  which  were  not  caught  wTen  the 
brushes  were  made.  Before  putting  any  brush  into  paint  or  varnish  work 
rub  the  hand  back  and  forth  across  the  bristle  and  work  out  those  few  loose 
ones.  Do  not  be  too  quick  to  condemn  a  new  brush  that  sheds  a  few7  bristles. 


The  Care  of  Brushes 

Second  in  importance  only  to  the  selection  of  brushes  is  the  care  given 
them  after  they  have  been  put  to  w'ork.  Just  as  it  is  impossible  to  do  a 
perfect  job  of  painting  or  varnishing  with  brushes  made  for  some  other 
purpose,  or  with  brushes  made  to  sell  at  a  low'  price,  so  is  many  a  job  made 


196 


LET  THE  PAINT  MANUFACTURER  SOLVE  YOUR  PAINT  PROBLEMS 


inferior  or  ruined  altogether  by  brushes  which  have  been  improperly  kept. 
Good  brushes  of  any  kind  are  costly  and  it  is  obviously  poor  economy  to 
buy  good  brushes  and  then  not  take  care  of  them. 

When  paint  and  varnish  brushes  are  not  in  use,  they  shou  Id  be  suspended 
in  raw  linseed  oil,  free  of  the  bottom  of  the  container  at  leasttwo  inches,  and 
to  a  depth  of  at  least  an  inch  above  the  bottom  of  the  ferrule  or  strap.  The 
addition  from  time  to  time  of  a  little  turpentine,  or  ether,  or  similar  thinner 
will  keep  the  oil  from  getting  “fatty.”  Linseed  oil,  being  the  natural  paint- 
solvent,  will  tend  to  clean  brushes  suspended  in  it  in  this  manner,  and 
brushes  so  kept  will  always  retain  the  natural  springiness  of  the  bristle. 
Water,  on  the  contrary,  is  not  a  paint-solvent;  it  tends  to  make  brushes 
“lousy”  and  makes  bristle  soft  and  flabby.  The  very  best  of  brushes  will 
be  ruined  in  it.  Brushes  should  be  suspended  free  of  the  bottom  of  the 
container,  because  when  they  are  allowed  to  rest  on  the  bottom,  the  weight 
of  the  brush  tends  to  bend  or  curl  the  ends  of  the  bristle  and  ruin  the  brush. 
The  bottom  of  the  ferrule  or  strap  should  be  below  the  surface  of  the  oil, 
for  otherwise  the  oil  will  dry  around  the  exposed  part  of  the  bristle,  tending 
to  make  the  brush  lousy,  or  shortening  the  actual  working  length  of  the 
brush. 

Every  industrial  paint  shop  should  be  provided  with  a  suitable  tub  or 
tank  in  which  brushes  can  thus  be  kept.  The  simplest  way  to  suspend  the 
brushes  is  to  drill  a  small  hole  through  the  handle  of  the  brush  near  the  top 
of  the  ferrule,  and  putting  a  wire  through  it,  let  the  wire  lie  across  the 
edges  of  the  container.  Brushes  made  by  some  manufacturers  have  this 
hole  drilled  in  the  handle  when  the  brush  is  made. 

When  brushes  are  suspended  in  linseed  oil  the  oil  will  dissolve  the  pig¬ 
ment,  which,  being  heavier,  will  sink  to  the  bottom  of  the  container,  thus 
cleaning  the  brush.  From  time  to  time  clean  the  containers  and  supply 
fresh  oil  for  the  keepers.  Do  not  put  brushes  into  water.  There  is  no  possible 
excuse  or  reason  for  doing  so. 

On  the  small  job,  when  no  container  is  available,  work  as  much  paint 
out  of  the  brushes  as  is  possible,  lay  the  brush  on  a  flat  surface  and  wrap 
it  in  paper,  but  be  careful  not  to  bend  the  bristle.  Any  paper  will  do,  but  a 
glazed  or  nonporous  paper  is  to  be  preferred.  Lay  the  wrapped  brushes 
out  flat;  don’t  stand  them  on  end. 

Varnish  brushes  should,  of  course,  be  kept  in  separate  containers,  and 
should  have  the  oil  thoroughly  washed  out  of  them  before  they  are  put  into 
varnish  again.  If  the  oil  is  not  entirely  removed  it  will  have  a  tendency  to 
interfere  with  the  drying  of  the  varnish.  Varnish  brushes  on  the  job  may 
be  suspended  in  the  varnish  in  which  they  are  being  used.  Be  careful, 
however,  that  the  brush  does  not  rest  on  the  bottom  of  the  bucket  and  that 
the  varnish  comes  above  the  bottom  of  the  ferrule. 


197 


A  PAINT  FILM  IS  ONLY  1/500TH  OF  AN  INCH  IN  THICKNESS 


Brushes  which  through  neglect  have  been  permitted  to  harden,  or  have 
had  their  bristle  bent  or  twisted  out  of  shape,  might  just  as  well  be  dis¬ 
carded.  It  is  cheaper  than  attempting  to  reclaim  them.  There  are  chemical 
preparations  offered  which  claim  to  clean  hardened  or  lousy  brushes,  but 
ruined  brushes  are  seldom  restored  successfully.  Take  care  of  the  brushes — 
that’s  the  real  economy. 

Keep  duster  brushes  clean.  Those  made  vulcanized  in  rubber  are  easily 
cleaned  in  benzine  or  other  solvent,  or  may  be  washed  with  soap  and  water. 
Do  not  clean  pitch-set  brushes  with  either  a  paint-solvent  or  with  hot 
water;  the  solvent  will  dissolve  the  pitch,  the  hot  water  will  soften  it — in 
either  case  the  brush  will  fall  to  pieces. 

Buy  good  brushes,  use  them  intelligently  and  take  care  of  them. 

New  brushes  should  not  be  used  for  final  coats  of  paint  or  enamel.  Work 
them  out  first  in  priming  coats.  Keep  them  free  of  dust  and  they  will  work 
themselves  free  for  the  finishing  coats.  It  is  a  very  good  practice  to  wash 
new  varnish  brushes  in  some  inexpensive  thinner,  such  as  benzine,  before 
putting  them  into  varnish.  This  solvent,  of  course,  should  be  thoroughly 
shaken  out  of  the  brush  before  placing  it  in  varnish. 

Before  attempting  to  apply  paint  to  any  surface  work  the  brush  well 
into  the  paint,  or,  more  properly,  work  the  paint  well  into  the  brush. 

Hold  the  mixing  paddle  tightly  over  the  rim  of  the  bucket,  dip  the  brush 
into  the  paint  to  a  depth  of  two  or  three  inches,  then  wipe  the  brush  clean 
across  the  edge  of  paddle.  Do  this  several  times  to  insure  having  the  brush 
filled  with  the  paint  to  be  used. 

(Note:  The  foregoing  information  has  been  compiled  from  a  book  entitled  “Painting  and  Decorating  ” 
published  by  the  International  Association  of  Master  House-Painters  and  Decorators  of  the  United 
States  and  Canada.) 


J98 


PROPER  PREPARATION  OF  THE  SURFACE  IS  ESSENTIAL  FOR  GOOD  RESULTS 


Chapter  26 

HOW  TO  OPERATE  A  PAINT  SHOP 

Every  industrial  plant  of  sufficient  size  should  have  its  own  crew  of 
painters.  Where  there  are  many  buildings  and  surfaces  to  care  for,  it  is 
far  more  economical  in  the  long  run  to  keep  one  or  more  painters  employed 
the  year  round,  touching  up  interior  and  exterior  surfaces  where  needed, 
than  to  permit  rust  and  decay  to  proceed  to  such  a  length  that  replacement 
is  necessary  or  the  work  of  a  contracting  painter  is  required.  When  it  is 
not  possible  to  do  exterior  work,  there  are  many  interior  surfaces  that  can 
be  given  attention. 

If  the  plant  employs  its  own  painters,  a  paint  shop  is  a  necessity.  This 
should  be  located  preferably  near  the  center  of  the  plant,  so  that  all  parts 
of  the  plant  may  be  readily  accessible.  The  room  selected  should  be  well 
heated  and  well  lighted.  It  should  be  fitted  with  tanks  for  the  storage  of 
oils  and  thinners;  with  shelves  for  holding  gallon  cans  or  smaller  sizes  of 
paints  and  varnishes;  with  space  for  storing  larger  packages  and  barrels. 

The  proper  care  of  opened  packages  of  paint  is  important.  Packages 
smaller  than  half-gallons  usually  are  furnished  with  friction  tops,  making 
it  possible  to  keep  the  contents  indefinitely.  Gallon  and  half-gallon  cans, 
five-gallon  packages  and  larger  containers,  however,  present  a  different 
problem.  After  the  lid  is  cut  out  or  removed,  and  a  portion  of  the  con¬ 
tents  used,  the  best  method  of  keeping  the  remainder  is  to  place  a  stout 
paper  cover  over  the  top,  tying  it  on  with  a  heavy  twine.  When  the  time 
comes  for  the  use  of  the  remaining  contents,  a  heavy  skin  will  usually  be 
found  on  top.  No  matter  how  tightly  the  paper  cover  may  appear  to  adhere 
to  the  package,  air  is  sure  to  creep  in  to  a  greater  or  less  degree;  and  the 
presence  of  air  is  responsible  for  the  formation  of  the  skin.  The  skin  viust 
be  carefully  removed.  It  should  never  be  stirred  into  the  paint.  The  addition 
of  a  small  amount  of  oil  may  be  necessary  to  prepare  the  contents  for  use. 
This  can  be  determined  after  a  thorough  stirring. 

Make  it  a  point  to  keep  plenty  of  material  on  hand  for  use  in  an  emer¬ 
gency.  Frequently  shipments  from  paint  manufacturers  are  necessarily 
delayed  and  long  delays  may  be  costly.  Determine  upon  the  kinds  of 
paints  or  varnishes  that  are  most  widely  used  in  the  plant,  choose  the 
manufacturer  from  whom  you  wish  to  purchase  and  order  sufficient  of  the 
material  in  various  sizes  to  keep  you  well  supplied. 

The  brush  stock  should  be  handled  in  a  similar  manner.  It  should  be 
preferably  under  lock  and  key  and  in  charge  of  the  boss  painter.  He  should 
be  responsible  for  the  proper  care  of  the  brushes  and  for  requisitioning  addi¬ 
tional  supplies  where  necessary. 


199 


ALLOW  AMPLE  TIME  FOR  THOROUGH  DRYING  BETWEEN  COATS 


Cans  for  holding  oily  waste  or  rags  should  be  tightly  covered,  and  all 
open  lights  or  matches  kept  away.  The  contents  of  a  paint  shop  are  highly 
inflammable  and  too  much  care  cannot  be  taken  on  this  point. 

Many  paint  shops  make  a  practice  of  having  a  barrel  or  tub  into  which 
are  poured  odds  and  ends  of  all  sorts  of  materials.  This  is  not  to  be  com¬ 
mended.  The  mixture  will  inevitably  become  “fatty”  and  “livery”  and 
is  worse  than  useless  for  any  purpose — either  for  priming  or  finishing  coats. 
For  the  sake  of  efficiency  and  economy,  such  small  amounts  as  may  be 
left,  if  too  small  to  preserve  in  the  way  indicated  above,  should  be  thrown 
away. 

Make  cleanliness  in  the  paint  shop  a  fixed  rule.  This  may  be  difficult 
to  adhere  to  in  some  instances,  but  is  essential  for  the  efficient  conduct  of 
this  department. 


r? — "''the  surface  and  7 

Sy ,  »u '  I 


200 


GOOD  PAINT  AND  VARNISH  HOLDS  DOWN  UPKEEP  COST 


Chapter  27 

PERIODICAL  PAINT  INSPECTION  AND  GUIDE 
TO  ITS  PERFORMANCE 

Periodical  inspection  of  plant  and  equipment — at  least  once  a  year — - 
should  be  made  to  determine  the  condition  of  all  surfaces.  Such  a  plan 
will  reduce  the  cost  of  maintenance  and  is  conducive  to  economical  plant 
operation.  It  will  inevitably  bring  to  light  surfaces  that  are  showing  evi¬ 
dence  of  rust  and  decay  and  make  possible  their  preservation  before 
replacement  becomes  necessary. 

A  record  showing  date  of  painting,  the  color  and  the  material  used  will 
be  found  of  great  assistance  in  checking  up  the  durability  of  the  paints  and 
varnishes  employed.  Where  this  practice  has  not  been  followed,  a  start 
can  be  made  by  marking  the  date  painted  upon  the  surface  within  reading 
distance  of  the  eye;  or,  a  record  can  be  kept  by  the  painter,  giving  the 
necessary  data.  This  will  indicate  the  finishes  that  are  not  giving  proper 
protection  or  length  of  service  and. enable  you  to  purchase  better  materials 
in  the  future. 

The  time  of  inspection  must  be  left  to  the  management  of  each  industry. 
As  a  suggestion,  however,  such  inspection  could  be  made  during  slack 
periods  or  at  inventory  time,  when,  in  many  industries,  the  plants  are 
closed  or  running  part-time.  A  record  should  be  made  similar  to  the 
following: 

Building  When  last  Material  Color  Condition  Recorn- 

Surface  or  Painted  Used  mendation 

Article 

A  record  such  as  this  will  guard  against  permitting  surfaces  to  decay  and 
deteriorate  through  lack  of  paint  protection,  and  at  the  same  time  will  be 
invaluable  in  showing  the  service  derived  from  paints  and  varnishes  used. 

The  surfaces  or  articles  to  be  painted  vary  with  each  industry.  The 
following  is  a  list  of  the  most  general  types  of  surfaces  of  industrial  plants 
and  may  be  used  as  a  practical  guide  for  periodic  paint  inspections.  For 
convenience,  the  particular  material  best  suited  for  each  surface  or  article 
is  indicated  by  the  number  opposite  it.  See  list  of  Du  Pont  Paints  and 
Varnishes  on  page  204.  (For  full  information  regarding  materials,  appli¬ 
cation,  etc.,  see  preceding  chapters.) 


201 


A  PAINT  FILM  IS  ONLY  1/500TH  OF  AN  INCH  IN  THICKNESS 


Guide  to  the  Use  of  Du  Pont  Paints  and  Varnishes 
for  Industrial  Upkeep  Purposes 

Exterior  Wood  Surfaces 

Products  Index 

Surface  to  use  to  Contents 


PAGE 

Factory  and  Mill  Buildings . 1-6  63 

Mill  Villages 

Houses . 1-7  64 

Roofs . 6-7  65-67 

Porch  Floors  and  Steps . 5  68 

Garages  and  Out  Buildings . 1  64 

Frame  Office  Buildings 

Siding . 1  68 

Roofs . 6-7  68 

Window  Frames  and  Sash . 1  68 

Porch  Floors  and  Steps . 5  68 

Fences  and  Gates . 1-6  68 

Bridges  and  Passageways . 1-6  68 

Doors . 1-3  68 

Framework  of  Brick  or  Concrete  Buildings . 1  69 

Wood  Tanks  and  Their  Supports . 1-6-8  69 

Telephone  Poles  and  Cross  Arms . 6-9  70 

All  other  Wood  Surfaces .  70 

Interior  Wood  Surfaces 

Floors  (Office,  Mill  Village,  Factory)  5-10-16-11-12-13-14-15-42-43-44  71-79 

Walls  and  Ceilings — including  Wainscoting  and  Baseboards 

46-1-13-17-18-19-20-25-26-27-41-42-43-44-45  79-83,  also  161 

Doors,  Door  Frames,  etc . 46-20-1  83 

Girders,  Beams  and  Pillars . 1-17-18-20  84 

Elevator  Gates  and  Shafts . 1-6  84 

Wood  Machinery  Parts . 1  84 

Racks  and  Bins . 1  85 

Exterior  Metal  Surfaces 

Structural  Steel  Construction . 2-3-4  105-107 

Roofs— Galv.  Iron,  Tin,  or  other  Metal . 2-3-6  107-109 

Siding — Galv.  Iron,  Tin  or  other  Metal  . 2-3-6  109 

Gutters,  Spouting  and  Water  Conductors . 2-3  109 

Fences,  Iron  or  Wire . 2-3-4  110 

Fire  Plugs,  Hydrants,  Valves,  Alarm  Boxes,  Hose  Carriages,  etc . 2-21  110 

Fire  Escapes  and  Ladders . 2-3  111 

Fire  Doors . 2-3-21  112 

Hand  Rails  and  Steps . 2-3-5  1 13 

Steel  Tanks  and  Tank  Supports .  1-2-3-4  114 

Bridges  and  Passageways . 2-3  1 16 

Supports  for  Pipe  Lines . 2-3  116 

Pipe  Lines,  Uncovered . 2-3-23  1 16 

Pipe  Lines,  Covered . 3-23  116 


202 


don’t  do  exterior  painting  in  wet  weather 


Steam  or  Electric  Cranes  and  Crane  Supports 

Smokestacks  and  Chimney  Connections . 

Ventilators . 

Factory  Trucks  and  Cars,  Tank  Cars . 

Electric  Locomotives . 

Steam  Locomotives . 

Steel  Drums  and  Containers . 


. . . .2-3 

PAGE 

118 

. 22 

118 

...  2-3 

118 

.2-3-23 

119 

, . .2-23 

120 

.24-35 

120 

8-4-23 

121 

Interior  Metal  Surfaces 

Walls  and  Ceilings — Galv.  Iron . 2-3-4 

Walls  and  Ceilings— Stamped  Metal . 17-18-19-1-20-25-26-27-41-45 

Steel  Girders,  Beams  and  Supports . 2-3-4—17-18-20-1 

Electric  Conduits  and  Switch  Boxes,  Indicator  Tubing . 2-3-23 

Sprinkler  Systems . 2-3-4-21 

Piping  Systems . 28-21-23-4-3-29 

Fire  Doors,  Fire  Buckets,  Sand  Pails,  Fire  Extinguishers,  etc..  .2-3-21-23 

Machinery . 2-3-30-31-32-33-23-34-29 

Machinery  Guards . 2-3-23-29-8-4 

Waste  Cans . 2-23-28 

Drinking  Water  Tanks . 2-23-28 

Raw  Material  Tanks,  etc .  2-3-4-23-31-32-33-8 

Factory  Hand  and  Motor  Trucks . 2-3-23 

Motors,  Pumps,  Turbines . 2-3-30-31-32-33-23-34-29 

Elevators  and  Elevator  Shafts . 2-3-23-21 

Boiler  Fronts  and  Connections . 2-3-24-35-29-31-32-33 

Weighing  Machinery  and  Scales . 23-28 

Crane  Supports  and  Cranes . 2-4-3-8 

Fume  Control  Systems . 2-3-4-8 

Drying  Stoves  and  Similar  Surfaces . 2-3-24-35-29-31-32-33 

Radiators .  1-3-4—5-17-18-19-20-28-41 


123,  also  162 

124,  also  162 

126 

127 

128 
129 
129 
129 

131 

132 

133 

133 

134 
134 

134 

135 
135 

135 

136 
136 
168 


Exterior  Concrete  Surfaces .  .  .  .36-1 

Exterior  Brick  and  Plaster  Surfaces . 1-36-38 

Interior  Concrete  Walls  and  Ceilings,  Pillars . 1-17-18-19-38-20-45 

Interior  Cement  Floors . 37-5 

Interior  Brick  Surfaces . 17-18 

Plaster  Walls  and  Ceilings . 17-18 

Zoning  Systems . 21-23-28-40 


143 

144 

145,  also  158 
147 
160 
160 
171 


203 


WHY  EXPERIMENT  WITH  UNKNOWN  BRANDS? 


Du  Pont  Paints  and  Varnishes  for  Upkeep  Purposes 


£1. 

Du  Pont  Prepared  Paint. 

25. 

Du  Pont  Flow  Kote  Enamel. 

2. 

Kromate  Metal  Primer. 

26. 

“ 

Interior  Decorative  Enamel. 

3! 

Ferro-Keep. 

27. 

“ 

Sanitary  Gloss  Enamel. 

4. 

Antoxide. 

28. 

Colored  Enamels. 

5. 

Floor  and  Deck  Paint. 

29. 

(( 

Aluminum  Paint. 

1  6. 

Barn  and  Roof  Paint. 

30. 

44 

Machinery  and  Engine  Fillers. 

7. 

Shingle  Stain. 

31. 

44 

Oil-Resisting  Flat  Machinery 

8. 

Acid-Resisting  Black. 

Enamel. 

9. 

Pole  Paint. 

32. 

4  4 

Oil- Resisting  Egg-shell  Ma¬ 

10. 

Supremis  Floor  Varnish. 

chinery  Enamel. 

11. 

Oil  Stain. 

33. 

44 

High  Gloss  Machinery  Enamel. 

12. 

Penetrating  Stain. 

34. 

44 

Machinery  Paint. 

13. 

Tufcote  Varnish  Stain. 

35. 

4  4 

Front  End  Black. 

14. 

Prepared  Wax. 

36. 

44 

Cement  &  Stucco  Coating. 

15. 

Crack  Filler. 

37. 

4  4 

Concrete  Floor  First  Coater. 

16. 

Wheeler’s  Paste  Wood  Filler. 

38. 

44 

Elastic  Wall  Primer. 

17. 

Du-Lite  Undercoater. 

40. 

44 

Traffic  White. 

18. 

Du-Lite  Flat,  Egg-shell,  Gloss. 

41. 

44 

Enamel  Undercoat. 

19. 

Flat  Wall  Paint. 

42. 

4  4 

Graining  Ground. 

20. 

Dado  Enamels. 

43. 

44 

Graining  Compound. 

21. 

Fire  Equipment  Red. 

44. 

44 

Paint  &  Varnish  Solvent. 

22. 

Stack  Black. 

45. 

44 

Lab.  Enamel. 

23. 

Motor  Truck  and  Wagon  Paint. 

46. 

Shipoleum  Interior  Finish. 

24. 

Locomotive  Black. 

204 


. 


fpi) 

Paints  and  Varnishes 


Color  Chart  Supplement 

to 

“Principles  and  Practices  of 
Upkeep  Painting” 


Prepared  and  Published  by 

E.  I.  du  Pont  de  Nemours  &  Co.,  Inc. 

Paint  and  Varnish  Division 

35th  St.  and  Gray’s  Ferry  Road  Philadelphia,  Pa. 

Chicago  Varnish  Works  Everett  Station,  No.  49 

Chicago,  Ill.  Boston,  Mass. 


DU  PONT  PREPARED  PAINT 


• 

• 

No.  138 

CREAM 

No.  115 

PINK 

No.  749 

FRENCH  GRAY 

No.  82  DEEP  IVORY 


No.  1038  BRIGHT  STRAW 
YELLOW 


No.  67  DARK  BUFF 


No.  77  OAK  LEAF  BROWN 


No.  90  VIENNA  DRAB 


No.  1387  SANDSTONE 


No.  74  DRAB 


No.  860  FAWN 


No.  25  TERRA  BROWN 


No.  133 

GRAY 

No.  746 

PEARL  GRAY 

i-'  «fc\'.  .■■  ■ 

No.  160 

SCOTCH  GRAY 

No.  68 

DARK  LEAD 

No.  93  BLUE 


NOTE:  Starred  (*)  Shades  are  higher  in  price. 

Also  *  No.  40  Outside  White  *  No.  215  Enamel  Gloss  White 

*  No.  38  Inside  Gloss  White  *  No.  142  Inside  Fiat  White  No.  47  Black 


DU  PONT  PREPARED  PAINT 


No.  138  CREAM 


No.  82  DEEP  IVORY 


No.  115 


PINK  No.  749  FRENCH  GRAY 


No.  90  VIENNA  DRAB  No.  133 


GRAY 


No.  1038  BRIGHT  STRAW 
YELLOW 


No.  67  DARK  BUFF 


No.  1387  SANDSTONE 


No.  746  PEARL  GRAY 


No.  74  DRAB 


No.  160  SCOTCH  GRAY 


No.  540  SPRUCE  YELLOW 


No.  77  OAK  LEAF  BROWN 


No.  860  FAWN 


No.  68  DARK  LEAD 


No.  25  TERRA  BROWN 


No.  93  BLUE 


NOTE:  Starred  (*)  Shades  are  higher  in  price. 

Also  *  No.  40  Outside  White  *  No.  215  Enamel  Gloss  White 

*  No.  38  Inside  Gloss  White  *  No.  142  Inside  Flat  White  No.  47  Black 


2 


DU  PONT  PREPARED  PAINT 

(Conttnued) 


No.  135  APPLE  GREEN 


No.  162  DARK  APPLE 

GREEN 


No.  163  PATINA  GREEN 


"No  86  BRIGHT  GREEN 


•No.  1 18 

DARK  GREEN 

n 

.V.'  •  •V.'-.T.  ;; 

.V  r.V~y<3^ 

-vr:vQ;  *r*Fi 

A..v;  ' 

No.  151 

DARK  MOSS 

GREEN- 

No.  164 

LIGHT  BLUE 

No.  87  MAPLE  LEAF  RED 


•No.  191 

CRIMSON  RED 

No.  172 

MAROON 

No.  77D 

OLD  ENGLISH 
BROWN 

No.  106 

BRONZE  GREEN 

3 


DU  PONT  PREPARED  PAINT 

(Continued) 


No.  135  APPLE  GREEN 


•No.  118  DARK  GREEN 


•No.  191  CRIMSON  RED 


No.  162  DARK  APPLE 

GREEN 


No.  163  PATINA  GREEN 


•No  86  BRIGHT  GREEN 


No.  151  DARK  MOSS 

GREEN 


No.  164  LIGHT  BLUE 


No.  87  MAPLE  LEAF  RED 


No.  172  MAROON 


No.  77D  OLD  ENGLISH 
BROWN 


No.  106  BRONZE  GREEN 


3 


Du  Pont 
Flat  Wall  Paint 


No.  13 


IVORY  No.  36  BLUE  TINT 


No.  a  CREAM  No.  12  GRAY 


No.  16  YELLOW  TINT  No.  32  GREEN  TINT 


No  ll  LIGHT  BUFF  No.  25  DARK  TAN 


No.  23  LIGHT  TAN  No.  15  FRENCH  GRAY 


No.  58  LIGHT  ROSE  TINT  No.  27  LIGHT  BLUE 

Also  a  Beautiful 
SNOW  WHITE 


Du  Pont 

Cement  and  Stucco 
Coating 


CREAM  TILE 


MILWAUKEE  BRICK 

.  .  $?:>  -  .  ,..  v.  :  /.  ■*  i 

■ 


CEMENT 


G«  ANITE 


TILE  RED 
Aleo  WHITE 


4 


No.  13 


No.  A 


No.  16 


No.  11 


No.  23 


No.  58 


Du  Pont 
Flat  Wall  Paint 


Du  Pont 

Cement  and  Stucco 
Coating 


IVORY  No.  26  BLUE  TINT 


CREAM  TILE 


YELLOW  TINT 


No.  32  GREEN  TINT 


CEMENT 


LIGHT  TAN  No.  15  FRENCH  GRAY 


TILE  RED 
Also  WHITE 


LIGHT  ROSE  TINT  No.  27  LIGHT  BLUE 

Also  a  Beautiful 
SNOW  WHITE 


4 


Du  Pont 
Tufcote 

(Varnish  Stain) 


Du  Pont 

Penetrating  Stain 


LIGHT  OAK  LIGHT  OAK  on  OAK 


DARK  OAK 


CIRCAS.  WALNUT  on  GUM 


BROWN  OAK  on  OAK 


MAHOGANY 


GOLDRN  OAK  on  OAK 


LIGHT  MAHOGANY 
on  BIRCH 


DARK  MAHOGANY 
on  BIRCH 


BROWN  MAHOGANY 
on  BIRCH 


WALNUT  on  BIRCH 


5 


Du  Pont 
Tufcote 

(Varnish  Stain) 


Du  Pont 

Penetrating  Stain 


DARK  OAK 


LIGHT  OAK  on  OAK 


CIRCAS.  WALNUT  on  GUM 


LIGHT  MAHOGANY 
on  BIRCH 


DARK  MAHOGANY 
on  BIRCH 


CHERRY 


BROWN  OAK  on  OAK 


BROWN  MAHOGANY 
on  BIRCH 


MAHOGANY 


GOLDEN  OAK  on  OAK 


WALNUT  on  BIRCH 


WALNUT 


ENGLISH  OAK  on  OAK 


BROWN  MAHOGANY 


FLEMISH  OAK  on  OAK 


GRAINING  GROUND 


MISSION  GREEN  on  OAK 


5 


Du  Pont 

Motor  Truck  and  Wagon  Enamel  Paint 


Du  Pont  Antoxide 


RED 


GRAY 


MAROON  BRONZE  GREEN 


KROMATE  METAL  PRIMER 


Du  Pont  Ferro- Keep 


RED 


GRAY 
Also  BLACK 


GREEN 


Du  Pont 

Motor  Truck  and  Wagon  Enamel  Paint 


TRACTOR  GRAY  GREEN  MAROON 

Also  BLACK 


Du  Pont  Antoxide 


RED 


GRAY 


MAROON 


BRONZE  GREEN 


BLACK 


KROMATE  METAL  PRIMER 


Du  Pont  Ferro- Keep 


RED  GRAY  GREEN 

Also  BLACK 


6 


Du  Pont 
Oil  Stain 


Du  Pont 
Colored  Enamels 


DARK  MAHOGANY 


YELLOYV 


DELFT  BLUE 


WALNUT 


ORANGE 


PALE  GREEN 


MISSION  OAK 


VERMILION 


WILLOW  GREEN 


RICH  PORCH  RED 
Also  WHIT  E  and  BLACK 


LAWN  GREEN 


7 


Du  Pont 
Oil  Stain 


Du  Pont 
Colored  Enamels 


LIGHT  OAK 


DARK  OAK 


IVORY 


SILVER  GRAY 


BROWN 


LIGHT  BLUE 


MAHOGANY 


BUFF 


MEDIUM  BLUE 


DARK  MAHOGANY 


WALNUT 


YELLOW 


DELFT  BLUE 


ORANGE 


PALE  GREEN 


MISSION  OAK  VERMILION 


RICH  PORCH  RED 
Also  WHITE  and  BLACK 


LAWN  GREEN 


7 


Du  Pont  Floor  and  Deck  Enamel  Paint 
and  Du  Pont  Dado  Enamels 


DEEP  ORANGE 


EIGHT  BROWN 


BROWN  STONE 


M  AROON 


GREEN 


Du  Pont  High  Gloss  Machinery  Enamels 


STXEE 


MAROON  EIGHT  GREEN 


VERMILION 


AIwj  BLACK  and  WHITE 


8 


Du  Pont  Floor  and  Deck  Enamel  Paint 
and  Du  Pont  Dado  Enamels 


BUFF 


SPRUCE 


DARK  SPRUCE 


DEEP  ORANGE 


LIGHT  BROWN 


BROWN  STONE 


MAROON 


DUST 


DARK  STONE 


GREEN 


Du  Pont  High  Gloss  Machinery  Enamels 


VERMILION  Also  BLACK  and  WHITE 


8 


’■  h'  Pont  Barn  and  Roof  Paint 


iMT  ».rr> 


GRAY 


BROWN 


•Bj  Pont  Shingle  Stain 


9 


Du  Pont  Barn  and  Roof  Paint 


BRIGHT  RED 


BROWN 


GREEN 


Du  Pont  Shingle  Stain 


No.  10  VENETIAN  RED 


No.  29  RICH  RED 


No.  13  BRIGHT  GREEN  No.  5  DARK  GREEN  No.  30  BRONZE  GREEN 

Also  No.  1  NATURAE 


No.  31  GRAY 


9 


